Tala English version

Tala Ahmad Fahmy Alattas Foreword s 1. Learning to understand by looking at history 2.The journey history of Tuning System: Ling Lun Pythagoras Ptolemy Al-Farabi Fibonacci J Kepler, Werckmeister J.S Bach Kirnberger A.J. Ellis H Hemholtz. H R.Hertz 3. Learn to know our self from understanding where we came from 4. Local Tuning from some certain regions: Arabian Music Indian Music China Music Indonesian Music 5. Tuning systems development from the beginning XX century until now Jaap Kunts J.W.S Rayleigh Harry Partch Heinz Bohlen John R. Pierce Bohlen–Pierce scale Robert Moog Léon Theremin Wendy Carlos 6.The Latest developments on Tuning System on new technology Synthesizer From Modular synthesizer to Pop Musik 7. The assortment of Equal Temperament Scale Equal Temperament How to recognize the Instrument tuning facility 8. the end of the book List of Tables Equal Temperament Bibliography Foreword At 14-15th age in Europe there has been a Renaissance or Enlightenment age, where they’re was made all measurement as a measure of distance, weight and others become standardized. And it remains ongoing and still evolving constantly until the late 19th century after the beginning of the 20th century until now it is still being developed and passed on by scientists in Europe are also coupled with scientists from other country which are themselves forced must grow up with the same parameters with science in the West. This occurs because the practice of colonialism ever done by the people from Europe. As we read from the books of history of the world of science in the West world began to grew and develop after the age of Renaissance or the Enlightenment age s. In my opinion at the time of the Enlightenment Age of Renaissance is nothing more than Age of Horses Blinders, which is still found fault with the system of certain sizes and it still can be proven from the 20th century and continued until now. But nevertheless I still agree with the spirit of West Sciences, which is to try to get out from the stupidity and get ready to go into the next stupidity. In the course of Western Colonialism begins with the path spice’s trade which at that time was dominated by Islamic kingdoms. The European traders to begin with through the West coast of Africa until Cape Town, then began to enter the East coast of Africa , Madagascar and Zanzibar , after which it started to go into Asia such as Yemen, Iran, Hindustan to get to this Archipelago. Because there must be places that be heading for a long journey and tiring before, then the European traders had to be made a local colony of their own, which as newcomers have to conquer the people of the original that has been inhabiting for many generations. This conquest took place in various ways, namely with guns, culture, even with a religion that was brought. (1) Because in addition to the mercenaries and priest who came from Europe before traveling merchants, there's more of the scientists who were also involved. And the scientists had been continuously doing correspondence with the scientists in mainland Europe, so we can see that there still exists that there is a connection between Science in continental Europe with Science newly acquired by the scientists involved in the the journey of the Colonial earlier. And a result Sciences in Europe is growing rapidly, while the people's colonies was just fascinated with religion and science that is being offered by the Colonial. Or in other words, the European people began to leave slowly their blinders, were for the local colonies began flocking began to use the Glasses Horses to be abandoned by their Western employers. As we already know from history that the development of European science began after they began adopting the Islamic civilization. Even as Muslims we should be ashamed of ourselves, because it is clear and written many times in the verses found in the holy Quran as: signs for those who want to think. (1) 3 G it’s ea : Gold,God and Glory. With such a spirit of European merchants begin their expedition to conquer nations in the original inhabitants in Afrika, Asia dan Amerika. Even I too embarrassed to see the backwardness of our society that began to replace the culture of Thinking with Pop Culture, and this is also done by clicking named above- Industry. It's a thought misguided and without a long-term strategy at all. In fact they had forgotten that Pop Culture in the West is one of the final result of the cultural journey that has been going on for centuries . While Pop Culture of other many nations itself is always in touch with the roots of the tradition of the people. As a result we have seen Indonesian people as a Multicultural Nations began uprooted from its Cultural Roots themselves . Actually my idea to write this book is because my investment lay against the way of thinking of most of modern society in Indonesia, even some of those who consider themselves intellectual (sorry "Pseudo Intellectual"), they try to think to do Standardisation Tuning. And I think that this is something completely unnecessary, moreover it is also something that is not at all needed by the artists of our tradition. Because if standardization was indeed the case, then it would be a cultural impoverishment which in itself will lead our people into a losers class. And in my opinion it would be better if we allow our tradition tuning that has happened and make comparisson with standard tuning that we knew from the history of music in the West only as a parameter, understanding by measuring the differences that occur between Local Tuning System with International Standard Tuning generally accepted. Thus we will never lose our identity. In fact, I often use the facilities Microtuning on a keyboard or a soft synth to adapt a local tuning systems that exist in traditional music in Indonesia. And this has also been done by some other friends, also one of them including Pra Budi Dharma (Bass Guitar players from Group Band Krakatau). Besides, I knew a story from my friend Haryo "Yose" Soeyoto about an old guy who work as a janitor. At the time when he sweep, the old man sang a tembang from Jogjakarta gamelan, and after the swept completion, the old man goes into one of the classrooms to get a Piano. At that time he was trying to find the tones in Piano deemed suitable by the melody of the song on his tembangan before. Shortly after that he was out of the classroom, and Yose ask: why is not passed on, sir? And the old man replied: this Piano is discordant mas! Then after that Yose asked me: What do you think ??? I think both have their own truth if we look at the roots of its culture respectively. Therefore I began to complete my collection of books with some Mathematics books and Sounds Physics books are also associated with the frequency, here we also will be able to see that there is a strong relationship between Music, Mathematics and Sound Physics. And besides that I also equip it with books on Music in Java (2), as well as keeping the books of Indian music and Arabic music, connect in addition to dealing with Mathematics and Sound Physics, Music book which also closely related to Local Culture (Ethnography). In addition I also studied the comparison is there between 12 Equal Temperament with 24 Equal Temperament and 17 Equal Temperament in Roland XP-80 Keyboard are the only one I have, though I also really have to know that any keyboard that’s produced in the year 1990 to the next has Microtuning facilities and also allow it to turn into some Equal Temperament System within certain limits. (2) Jaap Kunts – Music in Java In the end, after I read some books about Tuning System or systems of the tuning, finally I’ve tried to make this book, even if in the end I was much more to translate the many pieces that come from the Wikipedia article. And also I thank them profusely for the late teacher my beloved mas Slamet Abdul Sjukur on the knowledge that it provides and also the enthusiasm and moral support given during his life, and also to predecessors pak Suka Harjana, Mr. Dieter Mack and also for Phillip Corner which has been introduced Fluxus to me and other comrades, including my friend Skip Laplance informing about 31 Tone Equal Temperamet ultimately due to limitations on my Roland XP-50 I was only able to make 30 Tone Equal Temperamet. also to my friends Azuzan Jg who have given me space to play with 30 Tone Equal Temperament (deep valley Maxim Gorky [Institute Theatre IKJ 1996]), also including the beloved Kakanda Remy Sylado that has very much helped me in editing my first book (Understanding Music) and give a little input on the tangga nada Slendro, also for my friends Danny Ardiono, Erick Prasetya also provide moral support, Toni Prabowo and Arjuna Hutagalung for unending debate and my student Putu Oki Sukanta were also very enthusiastic to learn Microtonal Music, also for my friend Embie C Noor who have provided input about word’s expression, also including my beloved wife Neneng Fahmy Alattas that always accompany me in the process of making this book, and ultimately to my uncle Farouk Shahab and all the brothers and sisters, Idrus Alatas, Ali Reza Alatas, Alwi Alatas and Ummuhani Alatas on moral and material assistance, and the main thing is for my beloved mother Nafisa Hasan Alatas who always keep and love me from the womb to the present and deceased beloved father Hasan Alatas. Wassalam, Jakarta 21 April 2015 Ahmad Fahmy Alattas 1. Learning to understand by looking at history History ? How important is History? Perhaps knowledge of the history becomes less important if we just memorize tales of past leaders. But knowledge of the history that by itself would be a very valuable knowledge that we understand each sequence and the development of a long journey that has and is happening in all civilizations. Like the story of how God created humans as beings a thinker, it is also one of knowledge of human history, and it's not just a rote that are passed from generation to generation. Or in other words the ability to think given Allah to mankind is to understand, not memorize. Indeed memorizing also one of the things we needed to remember, because it's one of our ways to storage information. But we can imagine what will happen if we just have a good storage place without processing it further, then we will be faced with a set of puzzles that vague and unclear. If we compare with the existing technology, a memorized people as an external HD, without Processor moreover Program. Because that has a capability of processing a set of data was just a computer that has a processor and many programs. Thus it would be better if we learn anything until we understand rather than just memorize I remembered with a statement of " Jas Merah " or " Jangan sekali-sekali Melupakan Sejarah "( Never once Forgetting History), and it is very often said by Sukarno, our first President, who became one of the founding fathers of our nation. Only unfortunately it was said by President Soekarno was often translated by The nation is only as Indonesia's history only. And in this case I did not agree, because whatever happens to this nation can never be separated from its other Nations that there is upfront Earth. As well as the another Nations that I mentioned earlier, things like this happened also in Science. While most people only think about the cloud right brain abilities that tend to be used for the understanding of Language and Art, and also the ability of the left brain tends to be used for the understanding of the science subjects. Basically I never rejected the results, but it is for me has become Investments if at some time I am dealing with someone who feels himself an intellectual or Pseudo Intellectual are just usy talking about the left brain and right brain, and while knowledge they swallow it immediately raw as a doctrine without chewing, let alone digest? How they can trust an assumption that grew out of a study without ever knowing the achievements that have been tangible and clear as a product of civilization itself? For me personally this is a model example of the absurdity of modern humans Indonesia, a product that is not clear and not at all grounded. Throughout my knowledge of the differences between humans and animals is language. In other words a language will grow at a Regional (Local Area) due to the lack of agreement among people who use them. And the language is always growing and evolving in accordance with their respective areas. We can see this is like starting with Local Language that eventually grow and develop into the National Language. Here I can also understand that in addition to verbal language common to a particular country, there is still has a meta language or more abstract languages such as Art. Art often use symbolic language to express something, even if was still using verbal language as a part of its media (Theatre and Literature). And besides that there are also other meta-language, which also grow and develop into a language its self, such as Mathematics, Physics and Chemistry. Also in addition there are other meta language again as a way to learn how the human body reaction, animals or plants if they are dealing with certain signals from outside the body or the expression them if they’re face to face with of other creatures. It also has developed into a science of Psychology and Biology. Moreover, if we look at the development of Science in the 20th century, as the Science of Space, Weapons, Nuclear and includes Computer that has produced various coding systems. It was built by another of meta language, ie Mathematics. So how else can we still believe that the ability to speak only controlled by the right brain ??? I think it would be better if we try to throw separations earlier way of thinking, and trying to look at a problem in a more comprehensive (integral). And in my opinion would also be better if we want to discard superstitions about left brain and right brain was, because basically both hemispheres was still resides in the same cranium. Basically for myself this is very precise and clear. To understand the situation is now taking place is to understand the situation that has never happened in the past. As for understanding the situations that have occurred in the past by itself identify any sequences of events and developments along with one by one . And it did not escape from the history that has been built gradually and continuously by the man himself. And here also we will see the development of Science that begins with a Philosophy that began to develop into Astronomy, Astrology, Arithmetic, Music, Sosiology and Politics which eventually evolved into Botany, Chemistry, Physics, Biology and ultimately getting branching with Electro Dynamics, Psycology , Ethnography, Anthropology and growing again, and so on. Looks like it has been increasingly difficult and complex, it may be like that for people who are accustomed to using Horses Blinders and perhaps not at all for people who look at things relate to one another (Integral). In In the following chapter I will only discuss the history of tuning will begin with Ling Lun, Pythagoras and others, of which I am entering a figure of Mathematicians that are completely unrelated to the music, which is Fibonacci. Why do I insert a row into Fibonacci , the philosopher, mathematician, expert Metaphysical, musician, physician and psychologist who choose in Musical Tuning System as part of their research object? Because I think the Row System that has made the series is still relevant. We should no longer confine ourselves to see the development of what has happened in the disciplines which we struggled, perhaps with knowing that other disciplines will also not be a problem as long as it is related to our field. 2.The journey history of Tuning System Ling Lun Ling Lun (China: 伶 倫 or 泠 倫) is a musical legend in ancient China. In Chinese mythology he created "Bamboo flute" which produces a variety of sounds that resembled the sound of birds and also includes a phoenix (a magical bird who lived 500-600 years) He uses five tones are derived from the ancient Chinese tradition of scales (Gong, Shang, Jiao, Ahi and Yu) where each tone has an equal distance (equivalent) with tones 1, 2. 3. 5. 6, 1 or Do - Re - Mi - Sol La - Do in the Western music scales. Yellow Empire (Huangdi) make a Bell insruments as a structure composition according to the existing arrangement of scales on the flute. And it is said by Remy Sylado (Novelis and Cultural expert ), this tuning system they’re brought and introduced to the Archipelago people, before that was named is Swarna Dwipa and Java Dwipa and presented to this State dynasty that time, that eventually turned become a Slendro scale. Here we can see How this Scale can be produced: Start with the fundamental frequency. (440 hertz used here). Apply a ratio to make the first column. Copy the second and all further elements in this column with the sequence of each other eleven columns. Apply a ratio to create a second through twelfth column. Thereby it made generating 144 - frequencies (with some duplication). In each column they’re a produ e five different choices of non-adjacent frequencies will be made. (See the colored blocks above). So every column can be produce 60 different Pentatonic Scale. (1) Wikipedia Pythagoras 570 S.M Pythagoras from Samos was a Greek philosopher and mathematician. Based on historical records, he studied science of Metaphysics, Mathematics, Music, Ethics and Politics. While in the past time it was the starting point of the development of science itself begins with Philosophy, arithmetic, Music and Astronomy. (2) Theon of Smyrna Mathematic useful for understanding Plato Pythagoras was found thatMusical Notes can be translated into Mathematical Equations. Wood carving fairy tale how Pythagoras invented the Tuning System monochord At that time when he passed blacksmiths at work and thought that the sounds emanating from the foundation of their beautiful and harmonious, and he decided that whatever scientific law caused this to happen must be mathematical and could be applied to music. He went to the blacksmith to learn how sound is generated by looking at their tools. He found that it was because the hammer is "simple ratios of each other, one half the size of the first, another was 2/3 the size, and so forth". But, finally this legend has been discharged after he proven to be false, based on the fact that this ratio is only relevant to the length of the string (like string monochord), and not from hammer weight. [51] [52] However, it may be Pythagoras was responsible for discovering the properties of string length. Pythagoras outlines the theory of numbers, the exact meaning of which is still debated among Scientist. Another belief attributed to Pythagoras was that about "harmony of the spheres". Thus the planets and stars moved according to mathematical equations, which relate to musical notes and thus produced a symphony. (2) Pythagorean Comma Pythagorean Comma defined in Pythagorean tuning as the differences between a semitone (A1 - m2), or similar enharmonically intervals between tones (from D ♭ to C♯). Diminished 2nd interval has the similar width but in the opposite direction (from to C♯ to D ♭). In musical tuning, Pythagorean Comma (or ditonic comma), named after the ancient mathematician and philosopher Pythagoras, is a small interval (or Comma) in Pythagorean tuning between two similar tones such enharmonically like B♯ and C, or D ♭ and C♯. It is equal to the frequency ratio 531 441: 524 288, or approximately 23.46 Cent, roughly a quarter of a semitone (between 75:74 and 74:73). Comma is the temperament of music (musical temperaments) is often referred to as tempering is the Pythagorean comma. Pythagorean comma can also be defined as the difference between ApoTome and Pythagorean limma (ie, between chromatic and semitones diatonic, as specified in the Pythagorean tuning system), or the difference between the twelve-fifths perfect and seven octaves, or the difference between the three Pythagorean ditones and one octave (this is the reason why the Pythagorean comma is also called diatonic comma). diminished second Interval, in the Pythagorean tuning, defined as the difference between limma and ApoTome. Therefore, it coincides with the inverse of the Pythagorean comma, and can be seen as a Descending Pythagorean comma (eg from C♯ to D ♭), equivalent to about -23.46 Cent. Derivation or Reduction : As described in the introduction, the Pythagorean comma can be derived in several ways: • The difference between the two enharmonic tones is equal in the Pythagorean scales, such as C . and B♯,atau D ♭ dan C♯ (see below). • The differences beetwen Pythagorean apotome and Pythagorean limma. • The differences beetwen twelve just perfect fifths and seven octave. • The differences beetwen three Pythagorean ditones (major thirds) and one octave. Perfect 5th has a frequency ratio of 3/2. It is used in Pythagorean tuning, together with the octave, as a benchmark for determining, by indicating the tone early and that generates the frequency ratio of each other being shifted tone. ApoTome and limma are two types of semitones defined in Pythagorean tuning. Namely, ApoTome (about 113.69 Cent, for example, from C to C♯) is chromatic semitones, or augmented unison (A1), while limma (about 90.23 Cent, for example, from C to D ♭) is a diatonic semitone, or minor second (m2). A Ditone (or 3rd Major) is the interval formed by the two main tone. In Pythagorean tuning, the main tune has a size of about 203.9 Cent (the frequency ratio 9: 8), thus a Pythagorean ditone is approximately 407.8 Cent. Octaves (7 × 1200 = 8400) are not appropriate when compared to a fifths (12 × 701,96 = 8,423.52). Octaves (1 × 1200 = 1200) are not appropriate when compared to a ditones (3 × 407.82 = 1223.46) Size of the measurement The size of the Pythagorean comma is measured by Cent is : or more precisely, in terms of frequency ratio: Pythagorean comma is shown as a gap (On the right) which cause 12-pointed star fails to close, which is a star Pythagorean scale; each row represents just perfect fifth. The gap that has central angle of 7.038 degrees, that is equal to 23.46% of 30 degrees.(1) Circle of fifths and enharmonic changes Pythagorean comma can also be considered as the difference between perfect fifths (ratio 3: 2) Note C G D A E B Steps up perfect fifths Fifth Frequency ratio Decimal ratio 0 1:1 1 1 3:2 1.5 2 9:4 2.25 3 27 : 8 3.375 4 81 : 16 5.0625 5 243 : 32 7.59375 Steps up octaves Note Octave Frequency ratio 0 1:1 C 1 2:1 C 2 4:1 C 3 8:1 C 4 16 : 1 C 5 32 : 1 C F♯ 6 729 : 64 11.390625 C♯ 7 2187 : 128 17.0859375 G♯ 8 6561 : 256 25.62890625 D♯ 9 19683 : 512 38.443359375 A♯ 10 59049 : 1024 57.6650390625 E♯ 11 177147 : 2048 86.49755859375 B♯ (≈ C) 12 531441 : 4096 129.746337890625 C C 6 7 64 : 1 128 : 1 In the following table the musical scale in the fifth circle, Pythagorean comma seen as a small interval between eg F♯ and G ♭. 6 ♭ and 6♯ Scales are not identical - even though they are on a piano keyboard- buti ♭ Scales is one of the Pythagorean comma lower. By ignoring these differences will lead to change.Enharmonic. This interval has serious implications for the various schemes tuning of the chromatic scale, because in Western music, 12 perfect fifth and seventh oktave treated as the same interval. Equal temperament, these days most common tuning system used in the West, have reconciled with each fifth evenly with twelve Pythagorean comma (approximately 2 Cent) , can be resulting in a perfect octave. From here maybe we have started to understand, that Pythagoras also explain why there are differences that are very subtle and fundamental between C # and ringing tones D b. Ptolemy 90 – 168 M Claudius Ptolemy was a mathematician, astronomer, Geographer the city of Alexandria one of the province of the Roman Empire. and astrologers. And he lived in Ptolemy also wrote an influential work, Harmonics, music theory and mathematics of music. After criticizing the approach of his predecessors, Ptolemy argued for basing musical intervals on mathematical ratios (different than adherents Aristoxenus in agreement with the Pythagorean follower), supported by empirical observation (contrast with the overly theoretical approach Pythagoreans). Ptolemy wrote about how the musical notes can be translated into mathematical equations and vice versa in the book Harmonics. This is called a tuning that was first discovered by Pythagoras. However, Pythagoras believed that the mathematics of music should be based on a certain ratio of 3: 2, while Ptolemy just believe that it should generally only involve tetrachords and octave. He presented his own divisions of the tetrachord and octave, which comes with the help of a monochord. Ptolemy's astronomical interests also appeared in a discussion about "the music of the spheres". Al-Farabi Abū Naṣr Muḥammad ibn Muḥammad Fārābī ( 872 M, Faryāb, Khorāsān – 950 M, Damaskus ). Al-Farabi (Persia: ‫ ف اراب ی محمد ب ن محمد اب ون ص‬Abu Nashr Muḥammad ibn Muḥammad Farabi ), known in the Western World as the Alpharabius is a famous philosopher in the golden age of Islam, ho’s writing in the field of political philosophy, metaphysics, ethics and logic. He is also a scientist, cosmologist, and musical scholar. Al-Farabi was known as a scientist that preserve the original Greek text of the days of the Middle Ages because of the comments and appreciation of the history of science, and comments influenced many prominent philosophers, such as Avicenna and Maimonides. Through his work, he is became famous in the Eastern and the Western world. Al-Farabi contribute to the field of logic, mathematics, music, philosophy, psychology and education. Although he was known as an expert on Aristotelian logic, he includes a number of nonAristotelian elements in his works. He discussed the topic of the future contingent, the number and categories of relationships, the relationship between logic and grammar, and non-Aristotelian forms of inference. He is also known for categorizing logic into two separate groups, the first is "idea" and the second being "proof". Al-Farabi also considered the theory of conditional syllogisms and analogical inference, which is a part of the Stoic tradition rather than Aristotelian logic. Another additional Al-Farabi was made to the Aristotelian tradition is the introduction of the concept of poetic syllogism in a commentary on Aristotle's Poet’s. Al-Farabi also wrote a book of music and the titled is Kitab al-Musiqa (The Book of Music), which according to Seyyed Hossein Nasr and Mehdi Aminrazavi: book Kitab al-Musiqa actually is the study of music theory Persia in his day although in the West has been introduced as a book of Arabic music. He presents the philosophical principles of music, cosmic quality and influence. Wrote a treatise Meanings of the Intellect, which dealt with music therapy and discuss the effects of music therapy in the soul. Fibonacci Leonardo Bonacci (1170 AD - 1250 AD) known as Fibonacci, and also Leonardo of Pisa, Leonardo Pisano Bigollo, Leonardo Fibonacci was an Italan mathematician, is considered the " West's mathematician most talented of the Middle Ages". Though he never made a book about music, but the system of calculation was introduced by Fibonacci has contributed to the calculation system in the Western world, and also includes a calculation system that exists in music. And I also did it some in my musical works. Fibonacci introduced to European the Hindu-Arabic numeral system mainly through the composition in 1202 of his book Liber Abaci (Book of Calculation). He was also introduced to European a sequence of numbers called Fibonacci series (found earlier in India, but previously unknown in Europe), which is used as an example in carrying his book Liber Abaci. Fibonacci sequence also completed, problems involving the rabbit population growth based on the ideal assumption. Solutions, from generation to generation, is a numberic sequence later known as Fibonacci sequence. The sequence number known by Indian mathematicians at the beginning of the 6th century, with Fibonacci book entitled Liber Abaci which has been the introduction to Western society. Liber Abaci In the Fibonacci sequence, each number is the sum of the two numbers before. Fibonacci sequence does not start with 0, 1, 1, 2, as the modern mathematicians do it, but with 1.1, 2, etc. He brought calculation up to the thirteenth (fourteen in the calculation of the modern), namely 233, although the script the other brought to the next: 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, 377. Fibonacci also not talking about the Golden ratio as a limit order of ratio numbers. Johannes Kepler Johannes Kepler (December 27, 1571 - November 15, 1630) was a German scientist who mastered the field of Astronomy, astrology, mathematics and natural philosophy. The book "Harmonices Mundi" (Harmony of the World) is one of the most well known book among several works ever written. One example of the articles in this book: In the extreme Planetary Movement the Musical Modes or Tones Have Somehow Been Expressed (3)Stephen Hawking – On The Shoulders of Giants Andreas Werckmeister Andreas Werckmeister (November 30, 1645 composer of the Baroque era. - October 26, 1706) was an organist, music theorist and Born in Benneckenstein, Werckmeister began his education at the school in Nordhausen and continue in Quedlinburg. He learn his musical training from his uncle Heinrich Christian Werckmeister and Heinrich Victor Werckmeister. In 1664 he became organist in Hasselfelde, ten years later in Elbingerode and in 1696 and the Martinskirche in Halberstadt. His Musical Theory was ever made The most known of Werckmeister’s theory today, especially through his writings in Musicae Mathematicae hodegus curiosus (1687) and Musikalische Temperature (1691), which he has tried to create a system of well temperament (tuning system on a keyboard) and is now described as a well temperament system was been made known as Werckmeister temperament. Werckmeister note’s are known to Johann Sebastian Bach, especially his writings about Counterpoint. Werckmeister believe that Counterpoint was he made, strictly tied with regular movements of the planets, it is remind us about Kepler point of view in his book Harmony of Mundi. According to George Buelow : "No other writer of the period considered music so firmly as the end result of the work of the Lord ", in harmony with the views of Bach. But despite the focus on Counterpoint, work performed Werckmeister is emphasizing the principles that have been the foundation of harmony. Werckmeister temperament Werckmeister temperaments are the tuning systems described by Andreas Werckmeister in his writings.[1][2][3] The tuning systems are confusingly numbered in two different ways: the first refers to the order in which they were presented as "good temperaments" in Werckmeister's 1691 treatise, the second to their labelling on his monochord. The monochord labels start from III since just intonation is labelled I and quarter-comma meantone is labelled II. The tunings I (III), II (IV) and III (V) were presented graphically by a cycle of fifths and a list of major thirds, giving the temperament of each in fractions of a comma. Werckmeister used the organbuilder's notation of ^ for a downwards tempered or narrowed interval and v for an upward tempered or widened one. (This appears counterintuitive - it is based on the use of a conical tuning tool which would reshape the ends of the pipes.) A pure fifth is simply a dash. Werckmeister was not explicit about whether the syntonic comma or Pythagorean comma was meant: the difference between them, the so-called schisma, is almost inaudible and he stated that it could be divided up among the fifths. The last "Septenarius" tuning was not conceived in terms of fractions of a comma, despite some modern authors' attempts to approximate it by some such method. Instead, Werckmeister gave the string lengths on the monochord directly, and from that calculated how each fifth ought to be tempered. Werckmeister I (III): "correct temperament" based on 1/4 comma divisions This tuning uses mostly pure (perfect) fifths, as in Pythagorean tuning, but each of the fifths C-G, G-D, D-A and B-F♯ is made smaller, i.e. tempered by 1/4 comma. Werckmeister designated this tuning as particularly suited for playing chromatic music ("ficte"), which may have led to its popularity as a tuning for J.S. Bach's music in recent years. Fifth Tempering Third Tempering C-G ^ C-E 1v G-D ^ C♯-F 4v D-A ^ D-F♯ 2v A-E - D♯-G 3v E-B - E-G♯ 3v B-F♯ ^ F-A 1v F♯-C♯ - F♯-B♭ 4v C♯-G♯ - G-B 2v G♯-D♯ - G♯-C 4v D♯-B♭ - A-C♯ 3v B♭-F - B♭-D 2v F-C - B-D♯ 3v Modern authors have calculated exact mathematical values for the frequency relationships and intervals using the Pythagorean comma : Note Exact frequency relation Value in cents C 0 C♯ 90 D 192 D♯ 294 E 390 F 498 F♯ 588 G 696 G♯ 792 A 888 B♭ 996 B 1092 Werckmeister II (IV): another temperament included in the Orgelprobe, divided up through 1/3 comma In Werckmeister II the fifths C-G, D-A, E-B, F♯-C♯, and B♭-F are tempered narrow by 1/3 comma, and the fifths G♯-D♯ and E♭-B♭ are widened by 1/3 comma. The other fifths are pure. Werckmeister designed this tuning for playing mainly diatonic music (i.e. rarely using the "black notes"). Most of its intervals are close to sixth-comma meantone. Werckmeister also gave a table of monochord lengths for this tuning, setting C=120 units, a practical approximation to the exact theoretical values. Following the monochord numbers the G and D are somewhat lower than their theoretical values but other notes are somewhat higher. Fifth Tempering Third Tempering C-G ^ C-E 1v G-D - C♯-F 4v D-A ^ D-F♯ 1v A-E - D♯-G 2v E-B ^ E-G♯ 1v B-F♯ - F-A 1v F♯-C♯ ^ F♯-B♭ 4v C♯-G♯ - G-B 1v G♯-D♯ v G♯-C 4v D♯-B♭ v A-C♯ 1v B♭-F ^ B♭-D 1v F-C - B-D♯ 3v Note Exact frequency relation Value in cents Approximate monochord length Value in cents C 0 0 C♯ 82 D 196 195.3 D♯ 294 295.0 E 392 393.5 F 498 498.0 F♯ 588 590.2 G 694 693.3 G♯ 784 787.7 A 890 891.6 B♭ 1004 1003.8 B 1086 1088.3 - (misprinted as ) 85.8 Werckmeister III (V): an additional temperament divided up through 1/4 comma In Werckmeister III the fifths D-A, A-E, F♯-C♯, C♯-G♯, and F-C are narrowed by 1/4, and the fifth G♯-D♯ is widened by 1/4 comma. The other fifths are pure. This temperament is closer to equal temperament than the previous two. Fifth Tempering Third Tempering C-G C-E 2v G-D - C♯-F 4v D-A ^ D-F♯ 2v A-E ^ D♯-G 3v E-B - E-G♯ 2v B-F♯ - F-A 2v F♯-C♯ ^ F♯-B♭ 3v C♯-G♯ ^ G-B 2v G♯-D♯ v G♯-C 4v D♯-B♭ - A-C♯ 2v B♭-F - B♭-D 3v F-C ^ B-D♯ 3v Note Exact frequency relation Value in cents C 0 C♯ 96 D 204 D♯ 300 E 396 F 504 F♯ 600 G 702 G♯ 792 A 900 B♭ 1002 B 1098 Werckmeister IV (VI): the Septenarius tunings In this section I am not trying to give an explanation, perhaps an existing table below has been able to provide an explanation for all of us. Note Monochord length Exact frequency relation Value in cents C 196 1/1 0 C♯ 186 98/93 91 D 176(175) 49/44(28/25) 186(196) D♯ 165 196/165 298 E F 156 147 49/39 4/3 395 498 F♯ 139 196/139 595 G 131 196/131 698 G♯ 124 49/31 793 A 117 196/117 893 B♭ 110 98/55 1000 B 104 49/26 1097 From this point we can see how a musician (Organist) and the composer as Andreas Werckmeister still busily engaged himself with his Intellectual activities like a writing books about music theory and also still want to involving himself to understand and improve how the tuning system that has been created ? After him, we will continue with several any composers who also havean intellectual activity in they’re music. Johann Sebastian Bach Johann Sebastian Bach (31 March 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over 300 sacred cantatas of which 190 survive. His music is revered for its technical command, artistic beauty, and intellectual depth. Besides Bach had a long discussion about the musical theory by Johann Kirnberger who became one of his students. Well Tempered Klavier The first set was composed in 1722 during an appointment Bach in Köthen; The second followed 20 years later in 1742 when he was in Leipzig. Both were circulated widely in manuscript, but printed copies were not made until 1801, with three publishers almost simultaneously in Bonn, Leipzig and Zurich. Preparation of the early Baroque style is already lagging behind the tastes of the times early in Bach's career, although he continued to use this technique. The composer's contemporaries, such as George Frideric Handel and Antonio Vivaldi, among others, have already started exploring the music induced imagery and emotions after leaving the tight structure of the previous period (early 1600s to 1700). This conceptual shift towards music that could represent beyond just basic emotions, causing them to become part of the composition of the technical skills, part of efforts to resurrect the concept. An example is the work of Vivaldi's The Four Seasons, not structurally perfect, but to invoke the feeling of nice weather, heat waves, storms, and snow among many other seasonal experience. The new venture is the composer was asked to leave the binding rules of music. The result of the technical composition is obscured, making them difficult to study and not soo good for the study of music theory. Because the Well-Tempered Clavier is a work on the structural rules, Bach managed to put out the tutorial saved by the foundation. Once again so many composers who left the structure that supports the efforts of interpretation, Well-Tempered Clavier fill the gap required and successfully used as an aid in understanding the basic composition theory by many composers in the future. Most of the Western Composers learn from a similar book from JS Bach's (as The Art of Fugue or Two and Three Part Invention) to learn the basic theory of a clean set of compositions short designed solely to show why the combination of notes capable of making music while others make noise. If we seen from the title, Bach showed that he had written for the (12-pitch) well-tempered tuning system in which all keys sounded in tune (also known as "circular temperament"). The system made by Bach opposite to meantone temperament, which is the key with lots of accidentals sound out of tune. Sometimes it is assumed that the intended Bach's temperament is the same as the standard modern keyboard tuning which became popular after Bach's death. But for modern scholars assume otherwise. There is a long debate whether Bach made for a variety of the same temperament, maybe even a little change in practice from piece to piece, or a particular "Well-Tempered" single solution for all purposes? Johann Kirnberger Johann Kirnberger (24 April 1721, Saalfeld - 27 July 1783, Berlin) is a musician and composer (Mainly for fugues), and music theory. Perhaps, though not verified, he was a student of Johann Sebastian Bach, he visited Leipzig in 1741. According to Ingeborg Allihn, Kirnberger plays an important role in the intellectual and cultural exchange between Germany and Poland in the mid-1700s (Allihn 1995, 209). Between 1741 and 175 , Kirnberger lived and worked in Poland for powerful magnates including Lubomirski, Poninski, and Rzewuski before ending in a Benedictine monastery in Lvov (then part of Poland). He spent a lot of time to collect the Polish national dances and composed in his treatise Die Charaktere der Taenze (Allihn 1995, 211). He became a violinist at the court of Frederick II of Prussia in 1751. He was the musical director for Princess Anna Amalia of Prussia from 1758 until his death. Kirnberger greatly admired J.S. Bach, and attempted to secure the publication all the chorus from Bach, it’s finally appeared after Kirnberger’s death. We can see it on Kirnberger Chorale preludes (BWV 690-713). Bach and many manuscripts that have been preserved in the Kirnberger library (the collection of "Kirnberger"). He is known today primarily for his theoretical work Die Kunst des reinen Satzes in der Musik (The Art of Strict in Music Composition, 1774, 1779), well-tempered tuning systems known as "Kirnberger II" and "Kirnberger III" , associated with his name (see Kirnberger temperament). Such as the rational version of the equal temperament (see schisma). Kirnberger temperament is irregular temperament developed in the second half of the 18th century by Johann Kirnberger. Kirnberger was a student of Johann Sebastian Bach, held admired his teacher and one of his main supporters, though it is rumored that they have many differences of opinion on the tuning system at the time. Finally, they parted, and each developed its system of its own temperament as time passed. The first Kirnberger temperament, "Kirnberger I", has a similarities with the Pythagorean temperament, which emphasizes the importance of perfect fifths in the whole circle fifths. A perfect fifths full circle becomes impossible, because when the loop ends should be on the tone early, it would have overshot the original pitch. So, if one of the songs CG, GD, DA, AE, EB, BF♯, F♯-C♯, C♯-G♯ (A ♭), A ♭ -E ♭, E ♭ -B ♭, B ♭ -F, F - C ... the new "C" will not have the same frequency as the first. Two-tone "C" will have a difference of about 23 Cent (Comma), will be accepted. The difference between "C" and the initial "C" the latter derived by conducting a series of barrel Perfect (Perfect Tuning), which is generally referred to as the Pythagorean comma. Many tuning system has been developed to "spread around" the comma. That is, to divide the space between the anomalous musical interval on another scale. Alexander John Ellis Alexander John Ellis (June 14, 1814 - October 28, 1890) was an English mathematician and philologist, who was also influenced by the field of musicology. He changed his name from his father's name Sharpe with his mother's maiden name Ellis in 1825, as a condition to receive significant financial support from a relative on his mother's side. He is buried in Kensal Green Cemetery, London. Besides, Ellis also find a Cent that used to make the calculation in music interval. Cent (music) Cent is an logarithmic unit of measurement used for musical intervals. Twelve-tone temperament in octave can be divided into 12 semitones that comprise each of the 100 cent. Normally cent is used to measure very small finite interval, or to compare the size of comparable intervals in different tuning systems, and even intervals of one cent is too small to be heard among the tone sequence. This size was made by Alexander J. Ellis, based on the logarithmic acoustic semitone decimal system developed by Gaspard de Prony in the 1830s, on the advice of Robert Holford Macdowell Bosanquet. Ellis made a comprehensive measurement of musical instruments from around the world, using ekstensive cent for the report and compare the scale that’s it used, and are described further and used the system in his edition of Hermann von Helmholtz entitled Sensations of Tuning. It has become a standard method for representing and comparing the musical pitches and intervals with an accuracy of more definitive . One Cent compared with semitone on monochord pieces. Increased Octave exponentially when measured on a linear frequency scale (Hz). Octave with the same space when measured on a logarithmic scale (Cent). Comparison equal-tempered (red) and the Pythagorean intervals (blue) showing the relationship between the frequency ratio and the values of the interval, in Cent. The curve is shown on the left is a plot of equation. As decibels relation to dynamic intensity, then Cent is the ratio between the two frequencies are close together. For a ratio that has remained constant over the frequency spectrum, the frequency range covered by one cent should be comparable with the two frequencies. An equally tempered semitone (the interval between two adjacent piano keys) includes 100 cent by definition. One Octave equal to two tones that have a frequency ratio of 2: 1 - includes twelve semitones and will be 1200 cents. Because the frequency is magnified by one cent only be multiplied by the unit value of this constant cent, and dual frequency cent in 1200, the ratio of one cent into separate frequency precisely equal to 21/1200, 1200 root of 2, which is approximately 1.0005777895. If anyone wants to know the frequency of a and b of the two tones, the number cent measured in the interval from a to b can be calculated by the following formula (similar to the definition decibel) Likewise, if no one knows the tone and the number n cent in the interval from a to b, then b can be calculated by: To compare different tuning systems, changing the size range interval to the cent. For example, only in the 3rd Major intonation is represented by the frequency ratio 5: 4. By applying the above formula will be about 386 Cent. Equivalent interval on the equal-tempered piano, ie 400 cents. The difference, 14 cents, is becoming to be easily heard. Human perception It is difficult to establish how much cent is quite clearly able to grasp for most human beings; The accuracy varies greatly from person to person. One writer states that humans can distinguish differences in pitch about 5-6 cents. Thresholds clear, technically known as the only visible difference, also vary as a function of frequency, amplitude and the timbre. In one study, change tone quality reduces the ability of the student musicians' to recognize, as out-of-tune, Pitch deviating from their appropriate size is ± 12 cents. It has also been determined that increasing the tonal context allows listeners to more accurately assess the Pitch. When listening to pitches with vibrato, there is evidence that people perceive the average frequency as the center of the pitch. One modern study performances of Schubert Ave Maria found that the range of vibrato typically ranges between ± 34 cents and ± 123 cent with an average of ± 71 cents and higher note variations in Opera Arias (Verdi). Normal human adult who is able to recognize differences in pitch as small as 25 cents is very reliable. Most adults, however, have difficulty recognizing the difference is less than 100 cents and sometimes have difficulty with this greater interval. Hermann von Helmholtz Hermann Ludwig Ferdinand von Helmholtz (August 31, 1821 Potsdam, Kingdom of Prussia September 8, 1894 Charlottenburg, German Empire) mathematics, was a physicist and a German psychologist who made significant contributions to several widely variety of modern science. In the field of physiology and psychology, he is known for using a vision of mathematical theory, the idea of the visual perception of space, research on color vision, and sensations of tone, perception of sound, and empiricism. In physics, he was known for his theories on energy conservation, work in electrodynamics, chemical thermodynamics, and on the mechanical foundation of thermodynamics. As a philosopher, he is known for the philosophy of science, the notion of the legal relationship between the perception and the laws of nature, the science of aesthetics, and ideas about the power of science in civilization. His name is immortalized for an institution such as the institution of Sciences German association of research institutions (Helmholtz Association). Acoustics and Aesthetics In 1863, Helmholtz published his book entitled Sensations of Tone, which showed his interest in the physics of perception. This book also gives effect to the music experts in the twentieth century. Helmholtz also find a Helmholtz resonator to identify the various frequencies or pitches, pure sine wave components, or a complex sound that contains multiple tones. Helmholtz showed that different combinations of the resonator that can mimic vowel sounds: And this invention in particular makes Alexander Graham Bell's interest, but because Bell did not understand German, then Bell misunderstood Helmholtz diagram 'which means that Helmholtz had sent some frequency with wire- which will enable multiplexing of signals while the telegraph, in fact, the electric power used just to keep the resonator move. Bell failed to reproduce what he thought had been conducted by Helmholtz, but later said that he had been able to read the minds of Germany, and in the end he will never find a phone on the principle of harmonic telegraph. And when Hemholtz make books Sensation of Tone after he had discussions and correspondence that is long enough to mathematicians living in the contemporary ages, namely Alexander John Ellis. Helmholtz pitch notation is the naming system of musical notation Western chromatic scale. The system was developed by Hermann von Helmholtz, by using a combination of uppercase and lowercase letters (A through G), and sub and super-prime symbol (͵ ') to describe each individual tones in the scale. It is one of two formal system of naming specific notation in oktave. Helmholtz pitch notation Helmholtz develop this system, inspired by the practice of recording label pipes in German organ builder, to accurately determine the pitches in the classic work of his on acoustic Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863) was translated into English by AJ Ellis as the Sensations of Tone (1875). This system is widely used by musicians throughout Europe and is one that is used in the New Grove Dictionary. Having also widely used by scientists and physicians when discussing the scientific and medical aspects of the sound in relation to the auditory system, and has now largely been replaced in the American scientific and medical Contexts with scientific pitch notation. Heinrich Rudolf Hertz Heinrich Rudolf Hertz (22 Februari 1857 - 1 Januari 1894) is a German physicist who discovered the electric energy delivery of 2 points (point) cordless (wireless). His discovery of the most advanced is the electric charge jump. His name is immortalized in units of hertz frequency. Hertz is the SI unit of frequency. Said Hertz been to appreciate the services of Heinrich Hertz for their contribution in the field of electromagnetism. Hertz stated number of waves in one second (1 Hertz = 1 wave per second). This unit can be used to measure any periodic waveform. Example: The frequency of motion of the pendulum wall clock is 1 Hz. Hertz demanding education at the University of Kiel Institute, University of Karlsruhe, University of Bonn. His alma mater at the University of Munich, University of Berlin. He is a doctoral supervisor of the Hermann von Helmholtz. He is also known for his invention of the Electromagnetic Radiation and the photoelectric effect. Heinrich Rudolf Hertz was considered as the most instrumental figure in the field of electromagnetism, the branch of physics of electromagnetic fields to learn about electrical fields and magnetic fields. The electric field can be produced by a static electric charge, and can give rise to the electric force. The magnetic field can be produced by the motion of electric charges, such as an electric current flowing along the cable and giving rise to a magnetic force. The term "electromagnetism" comes from the fact that the electric field and magnetic field are mutually "berpelintiran" / related, and in many cases, it is impossible to separate the two. For example, changes in magnetic fields can give rise to an electric field; the phenomenon of electromagnetic induction, and is the basis of the operation of electrical generators, induction motors, and transformers.Istilah elektrodinamika kadangkala digunakan untuk menunjuk kepada kombinasi dari elektromagnetisme dengan mekanika. Subjek ini berkaitan dengan efek dari medan elektromagnetik dalam sifat mekanika dari partikel yang bermuatan listrik. Hertz (symbol: Hz) is the SI unit of frequency. Said Hertz been to appreciate the services of Heinrich Hertz for their contribution in the field of electromagnetism. Hertz stated number of waves in one second (1 Hertz = 1 wave per second). This unit can be used to measure any periodic waveform. Example: The frequency of motion of the pendulum wall clock is 1 Hz. Multiple Multiple units to Hertz using the metric system are multiples of thousands or more in the form of a kilo, mega, giga. While multiples down using a unit of measure such as desihertz, sentihertz and so on. For more details, check out the table below: SI multiples for hertz (Hz) multiples down multiples up Value Symbol Name Value Symbol Name −1 10 Hz dHz decihertz 101 Hz daHz decahertz 10−2 Hz cHz centihertz 102 Hz hHz hectohertz 10−3 Hz mHz millihertz 103 Hz kHz kilohertz 10−6 Hz µHz microhertz 106 Hz MHz megahertz 10−9 Hz nHz nanohertz 109 Hz GHz gigahertz 10−12 Hz pHz picohertz 1012 Hz THz terahertz 10−15 Hz fHz femtohertz 1015 Hz PHz petahertz 10−18 Hz aHz attohertz 1018 Hz EHz exahertz −21 21 10 Hz zHz zeptohertz 10 Hz ZHz zettahertz 10−24 Hz yHz yoctohertz 1024 Hz YHz yottahertz Abbreviations often used are printed in bold. 3.Learn to known our self from understanding where we came from After we entered the World of Thinking, which has been built by European civilization, so now we will try to enter the World of Feeling, which is already deeply rooted in Africa and Asia. And the World of Feeling is very contrasting from the World of Thinking, when the people tend to determine the Tuning System based on the measures that had been agreed upon by the society. How could this happen ??? right??? And how can they determine that the distance from one tone to another tone is I think this is not a i nterest question for all of us, as it will invite debate long and rambling. With us any explanation as it is not possible to discuss it, because then we will be dealing directly with the culture or a tribe that has indeed been formed over thousands or even millions of years . Besides, there are still the most important thing for myself is to accept and appreciate as one of the parameters of a particular culture. One of the most unique of the tuning system built by a certain tradition (Local Tuning) is a form of appreciation of a particular community in a way to their subconscious interpretation of the gravity of the earth where they stand by determining the interval from one tone to another tone . Or maybe my assumptions were not right ? Because as a musician who also has a tendency to Microtonal Music by itself I also appreciate Tuning Local that it has become part of our society. And besides that, I also still have a good reason, that if we look at the World Mind which has been developed by the European musician’s had been led to European Tuning Systems to be uniform (per 100 Cent) and has been lost gravity because is very easy for performing to made the modulation or the turn of a key , while in Asia and in some specific areas in Africa,the Pacific and America (Native American Indian) it will never be happen. Because music is mainly in Asia still has the basic tonality or Drone is always the starting point of where the music starts, while his tunes move in accordance with a certain Scale sometimes it use smaller intervals or slightly greater than 100 cents. And it also indicates and reminds us of where the music itself is derived. How to determine the tuning system from a particular area? I think this is not a difficult thing even if not too simple, because for this purpose just only needed three tools. The first tools is most important tool is our own ears. One function of the ear is to define the distance from one note to the other tones, it is very similar to the function of the tongue as a taster to distinguish the taste of salty, not too salty, less salty or sweet, not too sweet, less sweet and so forth. The second tool is a musical instrument which we will measure before, or at least we have a musical recordings using the tools we want to measure earlier. And the last tools is the keyboard which has facilities Microtuner Workstation. Why I said it was not too simple? Because it still takes 3-4 days to make sure the size of the tuning that we created earlier is right or false he e’re approaching a parameter of tuning from the traditional intstrument. 4. Local Tuning from some certain regions Now we begin to discuss some of the tuning system that was created by some particular nation or tribe. It will also help us to understand and identify some of the examples that already exist although this data was limited and very little. Based on my observations indeed takes a long time with a large number of groups to map the entire all of the tuning system throughout the world, and is one of the tasks of all Ethnomusicolog to perform the data collection. Here I was just trying to get to introduce some tuning systems (Local Tuning) that was created by so many country or certain tribes which coincidence incidentally relates to my involvement in the activities with this tribe or country. And I became aware of my limitations that I have that is not possible if I travel all over the world and record all data in the rest of my life just to satisfy my curiosity, and I think this task from a group consisting Ethnogaph, Ethnomusicolog and musicians who have a tendency towards Microtonal Music for acsess and formulate they’re attitudes and behaviors from these country or a tribe. Or, perharps if we think about it, we can say it : this is too much ??? Maybe I can understand, cause our society still using horses blinders that have been abandoned by our former Western employers or in the other words, we still maintain our slaves mentality specialize for our own people. And this will create ongoing conflict between local tendencies with cultures that come from outside. Moreover, this a suchs situation adding with a Pop Culture that tends to adore the Pop Artist as an Icons. By itself will led this country has lost they’re cultural thinking and always just follow the trend of they’re employers, either the Arabic employer or the Western employer (1). Yet if we examine how the change of religion was alternating, ranging from Hindu, Budha, Islam and Christian, are all imported religion. There may still be some local religion here as in Baduy Sunda Wiwitan from West Java, Parmalim from North Sumatra, or Kaharingan from Borneo and many others, with the number of those who have been more limited. I think it is the right for any individu to choose their respective religions. But Iknew from history that one of the practices of colonialism is to promote their power, they’re life style and also they’re religion and discredit another religions, while we knew a religion itself has absolutely not connected with the practice of colonialism. And we knew already the holy book Koran is not a product of the culture of the Arabs, but the last scripture that has been came from Allah to mankind after some other holy book has been changed and corrupted by ignorant hands. Now we are back again to the story about music. As I've heard before that purportedly Keroncong music was brought by the Portuguese. And in the end I became understood that the Moors who had been slavery of Portuguese ship brought this music’s. Then Keroncong had been adopted by the Moluccas and Java. At the time I noticed some kind of music of North Africa that turned part of the moors above, I recognize the rhythm of it as Rhythm Music Keroncong, it’sperfe tly similar if we want forgetting Javanese drumming or character of the Pacific distinctive as the Music Keroncong in Maluku. After this experience, I started to think that each region has a distinctive musical character, both the Rhythm or it’s Tuning System. Moreover, I was born, rise in Jakarta, as one of the major cities on the island of Java. (1) cause Islam is the dominant religion in Indonesia. So most of Pseudo Intellctual was inclined to think that the Islamic Religion is a form of subtle colonization of the Arabic descent earlier. Arabian Music First of all I deliberately chose the tuning system was came from Arab People, because I have several reasons for it. The first reason is related to the geographical location adjacent to the European continent, or in other words the Arabs is one of the one culture to interact more directly with the European Continent . The second reason is the Arab people also had a culture of thinking, almost the similar with they’re allied and cousin, the Jewish people. And for the third reason is because of my Arabic ancestry blood still recognize the character of these people, also includes our ways of thinking. And now I try to translate parts of the articles of Wikipedia as a reference: Pre-Islamic period Pre-Islamic Arabic music is similar to the ancient music of the Middle East. Most historians agree that there are different forms of music in the Arabian Peninsula in pre-Islamic period between 5 and 7. century Arab poet-time called that shu`ara 'al-Jahiliyah (“Jahili”poet) or "poet of the period of ignorance", which means "poet of the period of ignorance" - which is always read a poem in a high tone. They believe that the “Jinns” revealed poems to poets and music for musicians. The choir at the time served as the pedagogic facility where the educated poets will read their poems. Singing was not thought to be the work of these intellectuals and was instead entrusted to women with beautiful voices who would learn how to play some instruments used at that time such as the drums, oud or fiddle, and they use songs that always clung to metrum poetry. The composition is very simple and every singer will sing in a single maqam. Among the famous songs of the period is Huda, NASB, sanad, and rukbani. Early Islamic period Both compositions and improvisations in traditional Arabic music are based on the maqam system. Maqams can be realized with either vocal or instrumental music, and do not include a rhythmic component. Al-Kindi (801-873 M) was the first great theoretician of Arabic music. He proposed adding a fifth string to the oud and discussed the cosmological connotations of music. He build upon the achievements of the Greek musicians in using the alphabetical annotation for one eighth. He published fifteen treatises on Music Theory. but only five have survived. In one of his treatises the word Musiqa was used for the first time in Arabic. Abulfaraj (897-967) wrote a book about music. Kitab al-Aghani is an encyclopedic collection of poems and songs that runs to over 20 volumes in modern editions. Al-Farabi (872-950) wrote a notable book of Music). His pure Arabian tone system is on music titled Kitab al-musiqi al-Kabir (The Great Book still used in Arabic music. Al-Ghazali (1059-1111) wrote a treatise on state that comes from listening to music ". music in Persia which declared, " Ecstasy means the In 1252, Safi al-Din developed a unique form of musical notation, where rhythms were represented by geometric representation. A similar geometric representation would not appear in the Western world until 1987, when Kjell Gustafson dimensional graph published a method to represent a rhythm as a two- Al-Andalus By the 11th century, Islamic Iberia had become a center for the manufacture of instruments. These goods spread gradually throughout France, influencing French troubadours, and eventually reaching the rest of Europe. The English words lute, rebec, and naker are derived from Arabic oud, rabab, and nagqara'. See also: Islamic contributions to Medieval Europe A number of musical instruments used in classical music are believed to have been derived from Arabic musical instruments: the lute was derived from the Oud, the rebec (ancestor of violin) from the rebab, the guitar from qitara, which in turn was derived from the Persian Tar, naker from naqareh, adufe from al-duff, alboka from al-buq, anafil from al-nafir, exabeba from alshabbaba (flute), atabal (bass drum) from al-tabl, atambal from al-tinbal, the balaban, the castanet from kasatan, sonajas de azófar from sunuj al-sufr, the conical bore wind instruments, the xelami from the sulami or fistula (flute or musical pipe), the shawm and dulzaina from the reed instruments zamr and al-zurna, the gaita from the ghaita, rackett from iraqya or iraqiyya, geige (violin) from ghichak, and the theorbo from the tarab. Arabic Tuning System As we know that the Arabs have been using quarter notes as one element of a ladder tone. I've heard about this from uncle of my mother's Ahmad Sumeyt, he explained a lot about the various maqam (Scale) in Arab when I was still student in LPKJ / IKJ, because he was studied Piano in Alexandria (Egypt). And the most interesting when he explained how the Arabic read the Holly Koran, sometimes even unconsciously they often used some maqam. And another story in fact, he said that maqam al-ajam is means non-Arab scale. Perhaps here we can see some kind of maqam that I've found on Wikipedia: `Ajam (‫ )عجم‬trichord, starting Bayati (‫ )ب يات ي‬tetrachord, on B♭ starting on D Kurd (‫ )ك د‬tetrachord, starting on D Hijaz ( ‫ )ح جا‬tetrachord, starting on D Nahawand (‫ )ن ا ن د‬tetrachord, Nikriz (‫ )ن ك ي ز‬pentachord, starting on C starting on C Rast (‫ )را ست‬tetrachord, starting on C Saba (‫ ) ص با‬tetrachord, starting Sikah (‫ ) س ي كاه‬trichord, starting on D on E But even if they are able to make the turn key, Arabs musician have never did modulation technique, because it is not the way of their culture. Thus the Arabs are still running on its own cultural roots even though the location of their area just bordering the Mediterranean Sea from the mainland Europe. Indian Music . Indian music covers several types of folk music, pop, and Indian classical music. Indian classical music tradition, including Carnatic and Hindustani music, has a history that spans thousands of years and developed over several eras. Music in India began as an integral part of the socio-religious life. Indian Classical Music Two main traditions of classical music are Carnatic music, found mainly in the area of the peninsula, and Hindustani music, which is found in the north, east and center. The basic concept of this musical includes shruti (microtones), swara (tones), alankar (ornaments), raga (melodic improvisation of basic grammar), and tala (rhythmic patterns that’s used in percussion). Octave tonal system that divides into 22 segments called shrutis, not all equal but each roughly equal to a quarter tone in the whole of Western music. Carnatic Music These form of Carnatic music is based on the historical developments that can be traced from the 15-16 century AD afterwards. It is said to have originated in South Indian state of Karnataka. As Hindustani music, Carnatic music has a melodies with a simple improvised variations, but tends to have a more fixed composition. It consists of compositions with improvised embellishments added to the section in the form of Raga Alapana, Kalpanaswaram, Neraval Tanam Pallavi (Raga, Tala, Pallavi). The main emphasis is on the vocals because most compositions are written to be sung, and even when it was played on the instrument, they are meant to do in the singing style (known as gāyaki). There are about 7.2 million ragas (or scale) in Carnatic music, may about 300 still in use today. Purandara Dasa considered the father of Carnatic music, while Tyagaraja, Shyama Shastry and Muthuswami Dikshitar considered trinity of Carnatic music. Carnatic music is well known as a base for some great music in South India, including folk music, music festivals and has also been expanding its influence on the musical score in 100-150 years or more. Hindustani Music Hindustani music tradition diverged from Carnatic music around the 13th century - -14 AD. The practice of singing based on notes that popular even from the Vedic times where the hymns in the Sama Veda, an ancient religious texts, chanted as Samagana not sung. Developing a strong and diverse tradition over several centuries, it has a contemporary tradition formed primarily in India but also in Pakistan and Bangladesh. In contrast to Carnatic music, the other major of Indian classical music tradition coming from South music, Hindustani music was not only influenced by ancient Hindu tradition, the history of philosophy of the Vedas and the original sound of music of India, but also enriched by the performance practices of the Persian Mughal. Classical genre consisting of dhrupad, Dhamar, khyal, tarana and Sadra, and there are also some semi-classical forms. Raga Each raga has a definite arrangement in accordance with the hierarchy of swaras (basic tone). In Indian music, there are seven basic notes which have 16 varieties. Seventh basic tone of Indian music are: Sa, Ri, Ga, Ma, Pa, Dha, Ni. The chart below assumes Sa to be at C. Full form (Carnatic) Shadja Shuddha Madhyama Prati Madhyama Panchama Abbreviated form (Carnatic) Sa Shuddha Ma Prati Ma Pa Swaras in Carnatic music Full form (Hindustani) Shadja Shuddha Madhyama Tivra Madhyama Panchama Abbreviated form (Hindustani) Western Sa C Ma F M'a Pa F# G The swaras in Carnatic music are slightly different in the twelve-note system. There are three types each of Rishabha, Gandhara, Dhaivata and Nishada. There are two types of Madhyama, while Panchama and Shadja are invariant. Position Short name Swara (्वर) Western note(Sa = C) S sa C 1 Shadja (ष्ज) 2 Shuddha Rishabha (शु्ध ऋषभ) Ri R1 ra D♭ 3 Chatushruti Rishabha (चतुरतु त Ri R2 ri D 3 Shuddha Gandhara (श् ु ध Ga G1 ga D Ri R3 ru E♭ Ga G2 gi E♭ Ga G3 gu E Shuddha Madhyama (शु्ध Ma M1 ma F 7 Prati Madhyama (रतत म्यम) Ma M2 mi F♯ 8 Panchama (प्चम) Pa P pa G 9 Shuddha Dhaivata (शु्ध धैवता) Dha D1 dha A♭ 10 Chatushruti Dhaivata (चतुरतत Dha D2 dhi A 10 Shuddha Nishada (शु्ध तिषाद) Ni N1 na A 11 Shatshruti Dhaivata (ष्रतु त Dha D3 dhu B♭ 11 Kaisiki Nishada (कैशशकी तिषाद) Ni N2 ni B♭ 12 Kakali Nishada (काकली तिषाद) N3 nu B 4 4 5 6 ऋषभ) गा्धारा)़ Shatshruti Rishabha (ष्रतत ऋषभ) Sadharana Gandhara (साधारण गा्धारा) Antara Gandhara (अ्तर गा्धारा)़ म्यम) धैवत) धैवत) Sa Notation Mnemonic Ni If we look at the composition of tones of Indian music seems almost similar to Western music, as if the only way of notation just a different pronunciation. 1 2 3 Do Re Mi Sa Ri 4 5 6 Fa Sol La Ga Ma Pa 7 1 Si Do Dha Ni Sa While the composition of Shruti Microtuning contained in the Indian music is not so simple, because besides the tone Sa and Pa are still has four (4) tone for Ri, Ga, Ma, Dha and Ni. Sa Ri 1 Ri 2 Ri 3 Ri 4 Ga 1 Ga 2 Ga 3 Ga 4 Ma 1 Ma 2 Ma 3 Ma 4 0 90 22 70 22 90 22 70 22 90 22 70 22 0 90 112 182 204 294 316 386 408 498 520 590 612 C C# 0 -10 D +12 Eb -8 +4 E -6 F +16 -14 +8 -2 F# +20 Pa Dha 1 Dha 2 Dha 3 Dha 4 Ni 1 Ni 2 Ni 3 Ni 4 Sa 90 90 22 70 22 90 22 70 22 90 702 792 814 884 906 996 1018 1088 1110 1200 G G# +2 -8 A +14 -16 Bb +6 -4 B +18 -12 -10 +12 C +10 0 Now we have started to see how the complexity of the way thinking of the Indian people that has been presented in the tuning system created by them. Besides, there is another rule of the up and down motion on Raga System to be certain that a strong adhesive in they’re music tradition. Indeed for understand it more detail, we must stay in Ashram in India and learn a lot the real tradition from the right Indian music teachers. Chinesse Musik One day I had a discussion with a friend about an idea that I will write in this book, and my friends have warned that must writing about Chinesse music is one of the most important things in addition to Arabic music and Indian music. And it immediately reminded me at the beginning of Chapter 2 on The Journey Historic of Tuning System. Figures for the first time I wrote was Ling Lun, is an expert on the Chinesse music . And besides that there are so many traditional arts in Indonesia who have gained influence of Chinese art. So I think that it would be very appropriate if I do not include the contribution that has given China in the’re tradition musical instrument on the tuning system. And one of China's contribution to the tuning of musical tradition is that has made by Ling Lun, that is : C C# D Eb E F F# G G# A Bb B C 0 114 204 318 408 522 612 702 816 906 1006 1120 1200 And besides that we also have to see about the history of tuning systems that occurred in the earlier China from Chapter 2 So now I try to see the music from the standpoint of the Chinese philosopher. Chinese philosopher take a variety of approaches to music. For Confucius, the true form of music is important to the cultivation and improvement of the individual , and the Confucian system considers Yayue formal music for the moral spirit and symbol of good rulers and Mozi stable government. however condemn music and argues in Against Music (非 樂) for music which is a waste and satisfaction that does not serve a useful purpose and may be dangerous. According to Mencius, a strong leader once asked him whether it was moral if he preferred popular music compared to classical music? The answer is that it is only important that the ruler loved by his people. The Imperial Music Bureau, first established in the Qin Dynasty (221-207 BC), was greatly expanded under the Emperor Han Wu Di 武帝 (140-87 BC) and charged with the supervision court of music and military music and determining what folk music would be recognized official. In subsequent dynasties, the development of Chinese music was strongly influenced by the musical traditions from Central Asia. Oldest music surviving written by Chinese music is "Youlan" (幽蘭) or Solitary Orchid, attributed to Confucius. China's first musical instrument evolved and well-documented during the Tang Dynasty (618-907AD) is qin, though the qin is already known to have been played since the time before Han Dynasty In ancient China the social status of a musician is still far lower than the painters, though music was seen asa central state of harmony and longevity. Almost every emperor took folk songs seriously, and they sent officers to collect the songs for inspect the people will. One of it is the Confucianist Classics, Shi Jing 詩經 (The Shi Jing), other than that there are a lot of folk songs coming from 800 BC until 400 BC about. Through successful dynasties for thousands of years, the Chinese musicians to develop a variety of different instruments with his playing style. A wide variety of instruments, such as Guzheng and dizi original, although many popular traditional musical instrument introduced from Central Asia, such as the erhu and pipes. While the presence of European music in China emerged in early 1601, when the Jesuit priest Matteo Ricci presents Harpsichord to the Ming imperial court, and he trained four eunuchs to play. And at the end of the Qing Dynasty era, the influence of Western music began to be felt. Indonesian Music Of the entire people in Asia, the Archipelago country was named Indonesia include these peole has its own uniqueness. Because the people which living inhabited of this archipelago land consists with so many tribes with unique tuning patterns to each individual of they’re tribe. Basically, this people has a very high tolerance level and evidence of this is also reflected in the National Principal, it was Pancasila. This point can be seen from so many culture which eventually pursed into art and also includes an assortment of music that grows on this people, some of it a local music and new music that brought by immigrants from another country. As one example is kerocong music that brought by the Moors who did a rower Portuguese ships. This music was got the Pacific character at the time was adapted by Maluku people and got the influence of a Javanesse drum at the time was adapted by the Java people. Another example is the Instrument Lute brought by the Arabs during the spread of Islam in Indonesia and also shifted in Malay music that it still has a local character and eventually evolved into Dangdut music, this is due to the influence of Indian music film from Bollywood. Maybe it is still far more interresting Malay Langgam earlier if we compare it with dangdut music. In the Langgam Malay still deeply felt they’re local color when we compared with Dangdut which is earlierjust a copy of Bollywood Music. And maybe some musicians we just carry forward the spirit of plagiarism from the senior musicians who learned from Western music education in the reign of the former Dutch East Indies. And most of them sometimes forget that there are still many our tradition that treats Violin as a fiddle and strictly played they’re traditional music with they’re own Local Tuning. Sometimes the Malay society still treats a Violin like as Violin in general, but they still play their own tradition. So for what we want to do plagiarism? Just to get a rewards ??? Or for the Music Industrial??? On behalf of any reason for plagiarism spirit is the spirit of the losers. Probably for most people who are familiar with Western education is likely to assume Tuning Pattern in traditional music is off-key or discordant and necessary Western standardization. Perhaps all of mediocracy think that the traditional music artists is stupid and does not know the Westerner way of thinking. If I want to ask the all mediocracy : How do the traditional music artists can be determine discordant (off-key) in whether a tone? Are the traditional music artists was only able to play a guessing only in determining the tone sequence? And one final question is: How can we ensure that this art from certain areas when we hear the instruments and also include a these local music Pattern Tuning? Maybe I would also add with another question: So, who is FOOLISH ? The local traditional musician or you ??? As we all know that Art is always associated with taste, but besides it is also associated with a certain sizes. Accidentally I will take other forms as one of the models, the culinary or arts or cooking. At the moment we want to make western dishes like steaks then we will be faced with the exact size as so many grams of meat, so a liter of water, salt so milligram and so on. But when we want to make Chinese dishes such as Chicken Porridge,v then we will be faced with taste of water, taste of rice, taste of chicken broth, taste of salt and so on. It would seem prime result of this food when we feel Steak made by the Europeans or the Chicken Porridge made by Chinese. Or in other words only the people or tribe that recognizes their identity, be it with the exact size or the size is not too sure. Thus let each people become these people itself and let each tribe becomes tribe itself. And we still will be able walking to maintain the spirit of unity as long as we still have Pancasila as maintain our adhesive. And the same applies to the world of music. For me personally let the music traditional artists to determine the distance size from one tone to another tone, so that we can make the mapping and comparison with the tuning system which is considered to have become a common standard. Some tuning systems that exist in Indonesia Perhaps at this point I was dealing with the limitations that I have, because it is so limited and the least Local Tuning data is availa le as I’ e got. E er ee o a ouple of o asio s I de o strates so e music was I've made to some friends from such areas as Solo, Pekan Baru, Padang Panjang and Makassar which ultimately turned out to themselves more interresting to the electronic music phenomenon than try to learn about Tuning System mapping from their tradition. Yet when I was introduced to them that the Keyboard Roland - XP 50 I ever knew had a Microtuner in these program menu, and I also believe that these program menu is al ays’s done in some 90’est generations of keyboard or Workstation or the newer. After it, I've made workshops to introduce Computer as a programming and recording media and also Electronic music as another idiomatic, finally in the end I also know that they are really interesting to make they’re studio just to record they’re own pop songs. It’s feel like I’ walk alone and without friends who have the similar understanding. Just happen to still have a little friend who recognize function of the Microtuner that can be used on the Keyboard or Workstations are, and this is not connected at all with the industry pattern they've ever done, or in other words' This people feel stepping forward when they were heading backward. This we can see how our society considers itself Modern, to proudly with they’re photocopy class of Western Pop music, while other people from another country have started to know Microtonal Music as a new phenomenon. Because I knew it was so many foreign artists are really interested and respect in Indonesian traditional music, while the mediocracy al ays’s consider traditional music is something out of dated and should be abandoned. Maybe we can imagine if we face a bunch of FOOLISH PEOPLE who thinks he is a the most modern people in the world and they tend to feel lost when dealing with other nation more advanced, or sometimes they often hiding behind the’re own culture supposedly said "Adiluhung". But in reality they never deal directly with the Western Culture Mind. Ok ... .Better we leave bunch of FOOLISH people who consider themselves modern. And now I have only two Tuning Pattern, this is the one I got in a set of Gamelan was located in Taman Budaya Solo. Keyboard C Gender (Slendo) C# II (-11) II (+ 55) I (-57) II (+ 55) Keyboard G G# V(+46) III (-58) V(+20) III (-16) (-14) V(+20) Bb B C A I (+32) V (+56) VI (-26) VI (-26) VII (-61) VI (-32) VI (-26) (-56) II (+22) I (+20) V (+62) Slendro (Madenda) IV (+46) IV (+40) VI (+2) Gender (Slendro) F# II (-16) (+60) Gender (Slendo) Gender (Pelog) F III (-16) Gender (Pelog) Slendro (Madenda) E III (-5) I (-35) Gender (Pelog) D# II (+ 22) Gender (Pelog) Gender (Slendro) D II (+ 55) VII (-64) I (+20) II (+ 55) And besides Tuning Data was I got in Taman Budaya Solo, there are still another Tuning Data from Semar Pegulingan gamelan as I’ e got when working with Swarsana, a friend from Bali during the process of preparation for Pekan Komponis in 1998. Keyboard C C# D D# E F F# G G# A Bb B Semar Pegulingan (-52) (+32) (+30) (+42) (+39) (+30) (+33) (+50) 5. Tuning systems development from the beginning XX century until now As we have seen how Western civilization gradually began to leave they’re horse blinders when they have the size and the gauges more accurate. They become more easy and convenient to determine the size of the interval after knowing Cent as a musical unit in measuring for Tuning System on an instrument, even though they still maintain the preliminary calculations system that have been made since the Pythagoras era. From this situation we can see how the historical awareness of the European people has always maintained that the old calculation system and equip it with a new one . Because however this is in accordance with the nature of Science itself, which is al ays’s came out of a stupidity to enter into the next stupidity. How are we going to recognize a mistake if we never keep records of the error itself ? It takes an understanding so that we can understand something clearly, not only just memorize. And history about knowledge it self will teach us many things. Now we will see some people like Ethnomusicolog, Doctor of Physics, Programming and some Musician which al ays’s continues to engage with the problem of Tuning System. Jaap Kunts Jaap (Jakob) Kunst (12 Agustus 1891 di Groningen - 7 Desember 1960 in Amsterdam) adalah etnomusikolog Belanda, particularly associated with the study of musik gamelan from Indonesia. He is known for coining the word "etno-musik" (which later became etnomusikologi) as a more accurate alternative to the then-preferred term "musikologi komparatif". Biografi : Kunst was the only child of two musicians, and began to study the violin at only 18 months old. Drawn toward the study of Dutch folk songs and he continued to play violin throughout his life . He earned a degree in law from the University of Groningen in 1917, and pursued a career in banking and law for the next two years. While touring with a string trio the Dutch East Indies, he decided to remain on Java, and found a government post in Bandung. Meanwhile, he became interested in the Indonesian music, especially that of Java. He began an archive of musical instruments, field recordings, books, and photographs for the Batavia Museum (Batavia is the colonial name of Jakarta). In 1936 he returned to the Netherlands, and in that same year became the curator of the Royal Tropical Institute in Amsterdam, which developed into one of the most important institutes of its kind in Europe. Later, he gave lectures on Indonesian music at the University of Amsterdam in 1953 and became a member of the faculty there in 1958. In 1956, Kunst released a bestselling album of folksongs, on Folkways Records, entitled Living Folksongs and Dance-Tunes from the Netherlands. Here we can see a few posts ever made:                  with C. Kunst Van-Wely. De Toonkunst van Bali. (Weltevreden, 1924; part 2 in Tijdschrift voor Indische taal-, land-, en volkenkunde, LXV, Batavia, 1925) with R. Goris. Hindoe-Javaansche muziekinstrumenten. (Batavia, 1927; 2nd ed., revised, Hindu-Javanese Musical Instruments, 1968) A Study on Papuan Music (Weltevreden, 1931) Musicologisch onderzoek 1931 (Batavia, 1931) Over zeldzame fluiten en veelstemmige muziek in het Ngada- en Nagehgebied, WestFlores (Batavia, 1931) De toonkunst van Java (The Hague, 1934; English translation, Music in Java, 1949; 3rd ed., expanded, 1973) Een en ander over den Javaanschen gamelan (Amsterdam, 1940; 4th ed. 1945) Music in Flores: A Study of the Vocal and Instrumental Music Among the Tribes Living in Flores (Leiden, 1942) Music in Nias (Leiden, 1942) Around von Hornbostel's Theory of the Cycle of Blown Fifths (Amsterdam, 1948) The Cultural Background of Indonesian Music (Amsterdam, 1949) Begdja, het gamelanjongetje (Amsterdam, 1950) De inheemsche muziek in Westelijk Nieuw-Guinea (Amsterdam, 1950) Metre, Rhythm, and Multi-part Music (Leiden, 1950) Musicologica: A Study of the Nature of Ethnomusicology, Its Problems, Methods, and Representative Personalities (Amsterdam, 1950; 2nd ed., expanded, retitled Ethnomusicology, 1955; 3rd ed. 1959) Kultur-historische Beziehungen zwischen dem Balkan und Indonesien (Amsterdam, 1953, English translation, 1954) Sociologische bindingen in de muziek (The Hague, 1953) And in this book I was only able to discuss a portion of one of his books entitled "Music in Java" that did happen to be here. GAM.PELOG.SCALES EXPRESSED IN VIBRATION NUMBERS AND CENTS Names of Tones I II III VI IV VII V Kadook Manis (Kraton Solo) 294 114 314 138 340 272 396 114 425 137 460 192 514 233 Pengasih 286 128 308 148 335 270 392 123 421 116 450 182 500 233 Gender Pelog (Kraton Solo) 270 130 291 131 314 396 131 427 GAM Pelog (Solo) 272 138 294 157 322 296 382 110 407 91 429 176 475 235 Kanyut Mesem Pelog (Solo) 295 125 317 146 348 252 399 165 439 100 465 167 512 245 Lipur Lomba Neng (Solo) 278 126 299 150 326 292 386 138 418 89 440 182 489 222 Udan Arum (Solo) 262 121 281 148 306 122 348 188 388 92 409 192 457 237 (Kraton Solo) 404 405 etc….. Here I deliberately did not give a complete example of the book "Music in Java", because so detail data at that time have been made by Jaap Kunts as a ethnomusicolog and it never teaches us to learn from the wealth of our own music traditions. Harry Partch Harry Partch (c. 1969), from the cover of The World of Harry Partch (Columbia Masterworks) June 24, 1901 Born Oakland, California September 3, 1974 (aged 73) Died Encinitas, California  Composer  Creator of custom-made instruments Occupation  Music theorist (Harry Partch's 43-tone scale) Website www.corporeal.com Harry Partch (June 24 1901 - September 3, 1974) was an American composer, music theorist, and creator of musical instruments. He composed using scales of unequal intervals in just intonation, and was one of the first 20th-century composers in the West to work systematically with microtonal scales. He built custom-made instruments in these tunings on which to play his compositions, and described his theory and practice in his book Genesis of a Music (1947). Partch composed with scales dividing the octave into 43 unequal tones derived from the natural harmonic series; these scales allowed for more tones of smaller intervals than in standard Western tuning, which uses twelve equal intervals to the octave, as we knew that the standard Western tuning system always uses twelve equal intervals. To play his music, Partch built a large number of unique instruments, with such names as the Chromelodeon, the Quadrangularis Reversum, and the Zymo-Xyl. Partch described his music as corporeal, and distinguished it from abstract music, which he perceived as the dominant trend in Western music since the time of Bach. His earliest compositions were small-scale pieces to be intoned to instrumental backing; his later works were large-scale, integrated theater productions in which he expected each of the performers to sing, dance, speak, and play instruments. Ancient Greek theatre and Japanese Noh and kabuki heavily influenced his music theatre. Partch was born on June 24, 1901, in Oakland, California. His parents were Virgil Franklin Partch (1860–1919) and Jennie (née Childers, 1863–1920). The Presbyterian couple were missionaries, and served in China from 1888 to 1893, and again from 1895 to 1900, when they fled the Boxer Rebellion. Partch moved with his family moved to Arizona for his mother's health. His father worked for the Immigration Service there, and they settled in the small town of Benson. It was still the Wild West there in the early twentieth century, and Partch recalled seeing outlaws in town. Nearby, there were native Yaqui people, whose music he heard. His mother sang to him in Mandarin Chinese, and he heard and sang songs in Spanish and the Yaqui language. His mother encouraged her children to learn music, and he learned the mandolin, violin, piano, reed organ, and cornet. His mother taught him to read music The family moved to Albuquerque, New Mexico, in 1913, where Partch seriously studied the piano. He had work playing keyboards for silent films while he was in high school. By 14, he was composing for the piano. He early found an interest in writing music for dramatic situations, and often cited the lost composition Death and the Desert (1916) as an early example. Partch graduated from high school in 1919. The family moved to Los Angeles in 1919 following the death of Partch's father. There, his mother was killed in a trolley accident in 1920. He enrolled in the University of Southern California's School of Music in 1920, but was dissatisfied with his teachers and left after the summer of 1922. He moved to San Francisco and studied books on music in the libraries there and continued to compose. In 1923 he came to reject the standard twelve-tone equal temperament of Western concert music when he discovered a translation of Hermann von Helmholtz's Sensations of Tone. The book pointed Partch towards just intonation as an acoustic basis for his music. Around this time, while working as an usher for the Los Angeles Philharmonic. By 1925, Partch was putting his theory into practice by developing paper coverings for violin and viola with fingerings in just intonation, and wrote a string quartet using such tunings. He put his theories in words in May 1928 in the first draft for a book, then called Exposition of Monophony. He supported himself during this time doing a variety of jobs, including teaching piano, proofreading, and working as a sailor. Under the pseudonym Paul Pirate, he wrote pop songs which he tried to sell to publishers; for a time, he wrote a song daily. Only "My Heart Keeps Beating Time" (1929) found a publisher, and is the only of these songs to survive. In New Orleans in 1930, he resolved to break with the European tradition entirely, and burned all his earlier scores in a potbelly stove. Partch had a New Orleans violin maker build a viola with the fingerboard of a cello. He used this instrument, dubbed the Adapted Viola, to write music using a scale with twenty-nine tones to the octave. Partch's earliest work to survive comes from this period, including works based on Biblical verse and Shakespeare, and Seventeen Lyrics of Li Po based on translations of the Chinese poetry of Li Bai. In 1932, Partch performed the music in San Francisco and Los Angeles with sopranos he had recruited. A February 9, 1932, performance at Henry Cowell's New Music Society of California attracted reviews. A private group of sponsors sent Partch to New York in 1933, where he gave solo performances and won the support of composers Roy Harris, Charles Seeger, Henry Cowell, Howard Hanson, Otto Luening, Walter Piston, and Aaron Copland. Partch unsuccessfully applied for Guggenheim grants in 1933 and 1934. The Carnegie Corporation of New York granted him $1500 so he could do research in England. He gave readings at the British Museum and traveled in Europe. He met W. B. Yeats in Dublin, whose translation of Sophocles' King Oeadipus he wanted to set to his music; he studied the spoken inflection in Yeats's recitation of the text. He built a keyboard instrument, the Chromatic Organ, which used a scale with forty-three tones to the octave. He met musicologist Kathleen Schlesinger, who had recreated an ancient Greek kithara from images she found on a vase at the British Museum. Partch made sketches of the instrument in her home, and discussed ancient Greek music theory with her. Partch returned to the U.S. in 1935 at the height of the Great Depression, and spent a transient nine years, often as a hobo, often picking up work or obtaining grants from organizations such as the Federal Writers' Project. For the first eight months of this period, he kept a journal which was published posthumously as Bitter Music. Partch included notation on the speech inflections of people he met in his travels. He continued to compose music, build instruments, and develop his book and theories, and make his first recordings. He had alterations made by sculptor and designer friend Gordon Newell to the Kithara sketches he had made in England. After taking some woodworking courses in 1938, he built his first Kithara at Big Sur, California, at a scale of roughly twice the size of Schlesinger's. In 1942 in Chicago, he built his Chromelodeon—another 43-tone reed organ. He was staying on the eastern coast of the U.S. when he was awarded a Guggenheim grant in March 1943 to construct instruments and complete a seven-part Monophonic Cycle. On April 22, 1944, the first performance of his Americana series of compositions was given at Carnegie Chamber Music Hall put on by the League of Composers. J.W.S Rayleigh J.W.S Rayleigh (1894) is a Doctor of Mathematics and Physics which has become one of the Nobel laureate in the field of science that he do. At the beginning of his book entitled "The Theory of Sound" he once said something like this: This consideration leads us to expect a tremendous relationship between the tone period is as opposed to natural numbers (natural numbers). Period of vibration caused by blowing the first set would be double than that of the second. To create a two-tone experiments were found to stand with each other in relation Octave; and we concluded that the passing of any tone to his octave, vibration frequency doubling. A similar method, that for the period ratio of 3: 1 in accordance with the interval known by musicians, as one Octave and Fifth; with a ratio of 4: 1, double octave; and with a ratio of 5: 1, the interval to Double Major Octave and Third. In order to get the interval and Major Fifth Third, the ratio should be made each of 3: 2 and 5: 4. From these experiments it appears that if the two tones stand each other in a stable relationship, then no matter what part of the location of their scale, their period in a specific characteristics constant ratio of the relation. The same thing can be said of their frequency, or number of vibrations that they run within a specified time. 2: 1 ratio is a characteristic of octave interval, for example, from the tone of the set, to take one step octave and forwarded to fifth in the same direction, the appropriate ratio should be added: 2/1 x 3/2 = 3/1 If we want to have the size of the interval in the proper sense, we do not just have to take the ratio of its own characteristics, but the logarithm of the ratio. And then, the size of the interval will only compound the number of steps. So after considering therse Music Interval, then Rayleigh decided in the following order: Octave ……………………………2 : 1 Fifth ……………………………… 3 : 2 Fourth …………………………… 4 : 3 Major Third……………………… 5 : 4 Minor Sixth……………………… 8 : 5 Minor Third ……………………... 6 : 5 Major Sixth ……………………...5 : 3 Or in other words, the sequence will be like this: Do 1 - Re 9/8 - Mi 5/4 - Fa 4/3 - Sol 3/2 - La 5/3 - Si 15/8 - Do 2 From this point we already begin to see how the Tuning phenomenon has become one of the important objects of Sound Physics and Mathematics. Even J.W.S Rayleigh as a Doctor in the field of physics, he also always take the fields related to the discipline of science, and also learning about Tuning System that it has become part of the sound physic of sciences. Heinz Bohlen Heinz Bohlen (born 1935 at Krefeld in the Lower Rhine region of Germany) is a microwave electronics and communications engineer. He designed and described numerous non-octave musical scales (alternative musical tunings and temperaments), many based on combination tones, including the Bohlen–Pierce scale in 1972 (independently discovered by John R. Pierce in 1984, also a microwave electronics and communications engineer, six years later and Kees van Prooijen in 1978), . began to question and investigate tunings in the early 1970s when a friend and graduate student at the Hochschule für Musik und Theater asked him to begin recording concerts at the school. Bohlen asked students why all their music used twelve-tone equal temperament, including the octave ? Cause dissatisfied with they’re answers, he’s began to investigate alternate tunings Bohlen John R. Pierce John Robinson Pierce Born Died Nationality Awards John Robinson Pierce March 27, 1910 Des Moines, Iowa April 2, 2002 (aged 92) Sunnyvale, California American IEEE Edison Medal (1963) IEEE Medal of Honor (1975) Marconi Prize (1979) Japan Prize (1985) John Robinson Pierce (March 27, 1910 – April 2, 2002), was an American engineer and author. He worked extensively in the fields of radio communication, microwave technology, computer music, psychoacoustics, and science fiction. Born in Des Moines, Iowa, he earned his PhD from Caltech, and died in Palo Alto, California from complications of Parkinson's Disease. Bohlen–Pierce scale Chord from just Bohlen–Pierce scale: C-G-A, tuned to harmonics 3, 5, and 7. "BP" above the clefs indicates Bohlen–Pierce notation . The Bohlen–Pierce scale (BP scale) is a musical scale that offers an alternative to the octave-repeating scales typical in Western and other musics, specifically the equal tempered diatonic scale. If we compared with octave-repeating scales, its intervals are more consonant with certain types of acoustic spectra. It was independently described by Heinz Bohlen, Kees van Prooijen and John R. Pierce. Pierce, who, with Max Mathews and others, published his discovery in 1984, renamed the Pierce 3579b scale and its chromatic variant the Bohlen–Pierce scale after learning from Bohlen's earlier publication. Bohlen had proposed the same scale based on consideration of the influence of combination tones on the Gestalt impression of intervals and chords. The intervals between BP scale pitch classes are based on odd integer frequency ratios, in contrast with the intervals in diatonic scales, which employ both odd and even ratios found in the harmonic series. Specifically, the BP scale steps are based on ratios of integers whose factors are 3, 5, and 7. Thus the scale contains consonant harmonies based on the odd harmonic overtones 3/5/7/9. The chord formed by the ratio 3:5:7 serves much the same role as the 4:5:6 chord (a major triad) does in diatonic scales (3:5:7 = 1:1.66:2.33 and 4:5:6 = 2:2.5:3 = 1:1.25:1.5). Just tuning A diatonic Bohlen–Pierce scale "Lambda" scale): may be constructed with the following just ratios (chart shows the C D E F G H J A B C 7/5 5/3 9/5 15/7 7/3 25/9 3/1 Ratio 1/1 25/21 9/7 Cents 0 301.85 435.08 582.51 884.36 1017.60 1319.44 1466.87 1768.72 1901.96 T s s T s T s T s Step Cents 301.85 133.24 147.43 301.85 133.24 301.84 147.43 301.85 133.24 Hanya sebuah BP scale yang dapat dibangun dari empat chord tumpang tindih 3: 5: 7, misalnya, V, II, VI, dan IV, meskipun Chord yang berbeda dapat dipilih untuk menghasilkan scale yang sama: (5/3) (7/5) V IX III | III VII I | VI I IV | IV VIII II Bohlen–Pierce temperament Bohlen originally expressed the BP scale in both just intonation and equal temperament. The tempered form, which divides the tritave into thirteen equal steps, has become the most popular above the next, or cents per form. Each step is step. The octave is divided into a fractional number of steps. Twelve equally tempered steps per octave are used in 12-tet. The Bohlen–Pierce scale could be described as 8.202087-tet, because a full octave (1200 cents), divided by 146.3... cents per step, gives 8.202087 steps per octave. Dividing the tritave into 13 equal steps tempers out, or reduces to a unison, both of the intervals 245/243 (about 14 cents, sometimes called the minor Bohlen–Pierce diesis) and 3125/3087 (about 21 cents, sometimes called the major Bohlen–Pierce diesis) in the same way that dividing the octave into 12 equal steps reduces both 81/80 (syntonic comma) and 128/125 (5-limit limma) to a unison. A 7-limit linear temperament tempers out both of these intervals; the resulting Bohlen– Pierce temperament no longer has anything to do with tritave equivalences or non-octave scales, beyond the fact that it is well adapted to using them. A tuning of 41 equal steps to the octave (1200/41 = 29.27 cents per step) would be quite logical for this temperament. In such a tuning, a tempered perfect twelfth (1902.4 cents, about a half cent larger than a just twelfth) is divided into 65 equal steps, resulting in a seeming paradox: Taking every fifth degree of this octave-based scale yields an excellent approximation to the non-octave-based equally tempered BP scale. Furthermore, an interval of five such steps generates (octave-based) MOSes with 8, 9, or 17 notes, and the 8-note scale (comprising degrees 0, 5, 10, 15, 20, 25, 30, and 35 of the 41-equal scale) could be considered the octave-equivalent version of the Bohlen–Pierce scale. Intervals and scale diagrams Berikut ini adalah tiga belas nada dalam scale (Cent yang dibulatkan ke bilangan bulat terdekat): Justly tuned Interval (cents) 133 169 133 148 154 147 134 147 154 148 133 169 133 Note name C D♭ D E F G♭ G H Note (cents) 0 133 302 435 583 737 884 1018 1165 1319 1467 1600 1769 1902 J♭ J A B♭ B C Equal-tempered Interval (cents) 146 146 146 146 146 146 146 146 146 146 146 146 146 Note name C D♭ D E F G♭ G H Note (cents) 0 146 293 439 585 732 878 1024 1170 1317 1463 1609 1756 1902 J♭ J A B♭ B C play equal tempered Bohlen–Pierce scale (help·info) Steps EQ Cents in Just intonation Traditional Cents in just Difference interval EQ interval name intonation 0 = 1.00 0.00 = 1.00 Unison 0.00 0.00 1 = 1.09 146.30 = 1.08 Great limma 133.24 13.06 2 = 1.18 292.61 = 1.19 Quasi-tempered minor third 301.85 -9.24 3 = 1.29 438.91 = 1.29 Septimal major third 435.08 3.83 4 = 1.40 585.22 = 1.4 Lesser septimal tritone 582.51 2.71 5 = 1.53 731.52 = 1.53 BP fifth 736.93 -5.41 6 = 1.66 877.83 = 1.67 Just major sixth 884.36 -6.53 7 = 1.81 1024.13 = 1.8 Greater just minor seventh 1017.60 6.53 8 = 1.97 1170.44 = 1.96 BP eighth 1165.02 5.42 9 = 2.14 1316.74 = 2.14 Septimal minor ninth 1319.44 -2.70 10 = 2.33 1463.05 = 2.33 Septimal minimal tenth 1466.87 -3.82 11 = 2.53 1609.35 = 2.52 Quasi-tempered major tenth 1600.11 9.24 12 = 2.76 1755.66 = 2.78 Classic augmented eleventh 1768.72 -13.06 13 = 3.00 1901.96 = 3.00 Just twelfth, "Tritave" 1901.96 0.00 And now also we can see how both the Engineer (Heinz Bohlen & John Robinson Pierce) still had to make threy’re own tuning system. Robert Moog Robert Arthur "Bob" Moog Born Died Nationality May 23, 1934 New York City August 21, 2005 (aged 71) Asheville, North Carolina American Queens College, New York (B.S., Physics, 1957) Alma mater Columbia University (B.S.E.E.) Cornell University (Ph.D., Engineering Physics, 1965) Occupation Spouse(s) Relatives Electronic music pioneer, inventor of Moog synthesizer Entrepreneur Shirleigh Moog (m. 1958; three daughters, one son) Ileana Grams (1996-his death) Laura Moog Lanier (daughter) Matthew Moog (son) Michelle Moog-Koussa (daughter) Renee Moog (daughter) Miranda Richmond (daughter of Ileana Grams) A native of New York City, Moog attended the Bronx High School of Science in New York, graduating in 1952. Moog earned a bachelor's degree in physics from Queens College, New York in 1957, another in electrical engineering from Columbia University, and a Ph.D. in engineering physics from Cornell University. Moog's awards include honorary doctorates from Polytechnic Institute of New York University (New York City) and Lycoming College (Williamsport, Pennsylvania). During his lifetime, Moog founded two companies for manufacturing electronic musical instruments. He also worked as a consultant and vice president for new product research at Kurzweil Music Systems from 1984 to 1988, helping to develop the Kurzweil K2000. He spent the early 1990s as a research professor of music at the University of North Carolina at Asheville. Léon Theremin Léon Theremin Lev Termen demonstrating Termenvox, c. December 1927 Lev Sergeyevich Termen 15 August 1896 Born Saint Petersburg, Russian Empire 3 November 1993 (aged 97) Died Moscow, Russia engineer, physicist Occupation Theremin, The Thing Known for Lev Sergeyevich Termen (Russian: Ле́ ер е́е ич ер е́ ) (27 August [O.S. 15 August] 1896 – 3 November 1993), or Léon Theremin in the United States, was a Russian and Soviet inventor, most famous for his invention of the theremin, one of the first electronic musical instruments and the first to be mass produced. He also devised the interlace technique for improving the quality of a video signal, still widely used in video and television technology. His listening device, "The Thing", hung for seven years in plain view in the United States Ambassador's Moscow office and enabled Soviet agents to eavesdrop on secret conversations. It is considered a predecessor of RFID technology Wendy Carlos Wendy Carlos Walter Carlos November 14, 1939 (age 75) Born Pawtucket, Rhode Island, U.S. Ambient, jazz, classical, synthpop, Genres electronic Electronic musician, Occupation(s) Composer Instruments Synthesizer, keyboards, vocoder wendycarlos.com Website Birth name Wendy Carlos (born November 14, 1939) is an American composer and electronic musician. Carlos first came to prominence in 1968 with Switched-On Bach, a recording of music by J.S. Bach assembled phrase-by-phrase on a Moog synthesizer, at the time a relatively new and unknown instrument. The album earned three Grammy Awards in 1969. Other classical recordings followed. Carlos later began releasing original compositions, including the first-ever album of synthesized environmental sounds, Sonic Seasonings (1972) and an album exploring alternate tunings Beauty in the Beast (1986). She has also worked in film music, notably writing and performing scores for two Stanley Kubrick movies, A Clockwork Orange (1971) and The Shining (1980), as well as Walt Disney's Tron (1982). SomeTuning System was ever made Alpha scale minor Third (hanya: 315,64 Cent), 12-tet: 300 Cent, Alpha Scale: 312 Cent The α (alpha) scale is a non-octave-repeating musical scale. In one version it splits the perfect fifth (3:2) into nine equal parts of approximately 78.0 cents. In another it splits the minor third into two equal parts, or four equal parts of approximately 78 cents each. At 78 cents per step, this totals approximately 15.385 steps per octave. The scale step may be precisely derived from using 9:5 to approximate the interval 3:2/5:4, which equals 6:5. It was invented by Wendy Carlos and used in her album Beauty in the Beast (1986). Beta scale Perfect fourth (just: 498.04 cents) 12-tet: 500 cents Beta scale: 512 cents The β (beta) scale is a non-octave-repeating musical scale. In one version, it splits the perfect fifth (3/2) into eleven equal parts of 63.8 cents each. Another interpretation splits the perfect fourth into two equal parts, or eight equal parts of approximately 64 cents each. At 64 cents per step, this totals approximately 18.75 steps per octave. It may be derived from using 11:6 to approximate the interval 3:2/5:4, which equals 6:5. It was invented by and is a signature of Wendy Carlos and used on her album Beauty in the Beast (1986). Delta scale The δ (delta) scale is a non-octave repeating musical scale. It may be regarded as the beta scale's reciprocal since it is, "as far 'down' the (0 3 6 9) circle from as is 'up'. "As such it would split the minor second into eight equal parts of approximately 14 cents each. This would total approximately 85.7 steps per octave. The Bohlen–Pierce delta scale is based on the tritave and the 7:5:3 "wide triad" and the 9:7:5 "narrow triad" (rather than the conventional 4:5:6 triad). Gamma scale Neutral third: Just : 347.41 cents ET : 350 cents Gamma scale : 351 cents The γ ga a s ale is a non-octave repeating musical scale. In one interpretation, it splits the perfect fifth into 20 equal parts of 35.1 cents each. In another, it splits the neutral third into two equal parts, or ten equal parts of approximately 35.1 cents each. At 35.1 cents per step this totals 34.188 steps per octave. It may be derived from using 20:11 to approximate the interval 3:2/5:4, which equals 6:5 . It was invented by Wendy Carlos. It produces nearly perfect triads. A 'third flavor,' sort of intermediate to alpha and beta, although a melodic diatonic scale is easily available. More accurately the gamma scale step is 35.099 cents and there are 34.1895 per octave. 6. The Latest developments on Tuning System on new technology . At this time have a variety of models of system tuning has been made of people, either manually or by making certain arrangement of data on electronic equipment are becoming more sophisticated. This technology began in the late 19th century that begins with recording technology and amplified in the audio and image recording in photography. At the end of the trip Science itself begins to develop and establish subdivisions of new, such as the science of Acoustic, Recording and loudspeakers (amplified) in the field of sound (Audio), and also recording live images in a visual world , which began with a silent film technology that eventually evolving into a film as we know it today. And this does not only involve experts in physics and mathematics, but also involves many artists Music, Art and Film artists Photography makers. Beside that also involves the management and Marketing to create and market products that are ready to enter the market. Thus we can see that there is not any one area that stands alone, everything must Integral or related to each other Now we are back again to the developments associated with Tuning system issues earlier. As we have discussed in the previous chapter about people who never engage their minds to the question of Tuning. Including one of them is Robert Moog, a physicist who first made Synthesizer. And now we will discuss is Synthesizer itself. Synthesizer A synthesizer (often abbreviated as "synthesizer" or "synth") is an electronic musical instrument which generates an electrical signal that is converted into sound through a speaker (loudspeaker) or headphones. Synthesizer might be good to imitate other instruments or produce new timbres. This tool uses a keyboard, but it still can be controlled through a variety of other input devices, including Sequencer, instrument controllers, fingerboards, guitar synthesizer, wind controllers, and electronic drums. Synthesizer without built-in controller is often called Sound Module, and can be controlled via MIDI or CV / Gate. Synthesizer using a variety of methods to produce a signal. Among which the most popular is the waveform synthesis techniques that generate subtractive synthesis, additive synthesis, wavetable synthesis, frequency modulation synthesis, phase distortion synthesis, physical modeling synthesis and sample-based synthesis. Still there are some less common types of synthesis, including the synthesis subharmonic, a form of additive synthesis via subharmonics (used by mixture trautonium), and granular synthesis, sample-based synthesis based on grains of sound, generally produce soundscapes or cloud. From modular synthesizer to Pop musik In 1959-1960, Harald Bode developed a modular synthesizer and a sound processor, and in 1961, he wrote a paper exploring the concept of a portable self-contained modular synthesizer using transistor technology emerging. He also served as chairman of the AES and electronic music session for a convention that was made in 1962 and 1964. His ideas were adopted by Donald Buchla and Robert Moog in the United States, and Paul Knetoff in Italy at the same time. Among them, the Moog synthesizer known as the the first of designer to popularize the technique in the analog control voltage electronic musical instruments. The Moog synthesizer modular from a years 1960 - 1970. Robert Moog built a first prototype between 1963-1964, and then commissioned by Alwin Nikolais Dance Theater of NY; while Donald Buchla commissioned by Morton Subotnick. At the end of the 1960-1970's to the development of miniature solid-state component that allows the synthesizer to be, self-contained portable instrument, as proposed by Harald Bode in 1961. In the early 1980s, the company sells synthesizer with a modest price to the public. This, along with the development of Musical Instrument Digital Interface (MIDI), which makes it easier to integrate and synchronize synthesizers and other electronic instruments to be used in a musical composition . In the 1990s, synthesizer emulations began appearing in computer software, known then as software synthesizers, VST and other plugins can emulate classic hardware synthesizers to moderate levels How to make the old type synthesizer Tuning is by changing the Pitch Key Follow. Usually the Pitch Key Follow position at 100. If we want to get the scale at intervals greater than 12 TET, such as 9 TET, 10 TET or 11 TET then we must change the position of the Pitch Key Follow had to be less than 100. And if we want to gain scale with a smaller interval of 12 TET, then we should do the opposite. In the 1990's synthesizer generation, especially of the type of workstation already has its own Scale Tune, where we were able to prepare tuning pattern that we make based on specific traditional instrument. Even on a Sound Module certain we can also arrange tuning pattern that we have made based on each of the keys on the keyboard controller. 7. The assortment of Equal Temperament Scale As we have seen from the history of tuning systems in Chapter 1 above, that it seems we are being led to agrees that there are only 12 notes in one Octave. While the discovery of the Europeans in the days of Colonialism showed something else. As at the beginning of the Dutch expedition trip to the archipelago also involve some scientists, after they arrived on the island of Java, one of the scientists say that there have been several kingdoms here, and the text on it, just unfortunately the way the people here play a musical instrument with a sound pounded and unpalatable . After traveling time for several centuries, they began to appreciate it, one of them is Jaap Kunts book entitled "Music in Java," written more than 300 years after the arrival of the first Dutch expedition. And besides that, I also accidentally separating the musicians and scientists involved in the early twentieth century, because in this century there has been a leap of civilization that is extraordinary. Such as the discovery of new media such as movies, technological development began to be Multitrack Recording, Audio technological development which also ultimately become audio visual technology, especially in the era after World War II. Since the discovery of synthesizer that allows anyone to make music witht they’re tuning options each, though this way of thinking has also been represented by Harry Partch, Bohlen-Pierce et …….. …who continually resisted the Well Tempered Tuning System Equal Temperament is a musical temperament, or tuning system, in which each pair of adjacent notes have the same frequency ratio. Roughly pitch regarded as the logarithm of the frequency, this means that it is considered the "distance" of a tone against its closest neighbors is the same with every note in the system. Equal temperament In equal temperament tunings, usually Octave - divided into a series of steps the same (same frequency ratio between each tone). For classical music, tuning system the most common is the twelve-tone equal temperament (also known as 12 equal temperament), be inconsistent if the abbreviated 12-TET, 12TET, 12tET, 12tet, 12-ET, 12ET, or 12et, which divides octave into 12 sections, all of which are on a logarithmic scale. It is usually tuned relative to standard pitch of 440 Hz, called the A 440. Still has the other equal temperaments (music that has been written in 19-TET and 31-TET for example, and 24-TET used in Arabic music), but when the people in Western countries use the word equal temperament without qualification, their music usually means 12 -TET. Equal temperaments may also divide some interval other than Octave, Pseudo-Octave, into a number of steps within the same. An example is the equal-tempered Bohlen-Pierce scale. To avoid ambiguity, the word equal division of Octave, or EDO is sometimes preferred. According to this naming system, 12-TET is called 12-EDO, 31-TET is called 31-EDO, and so forth. Here I try to equip it with some TET or EDO we have ever met in VSTi. 9 TET ........ 1200 : 9 = 133.33 cent 10 TET ....... 1200 : 10 = 120 cent 11 TET ....... 1200 : 11 = 109,09 cent 13 TET ....... 1200 : 13 = 92,307 cent 14 TET ....... 1200 : 14 = 85,714 cent 15 TET ....... 1200 : 15 = 80 17 TET ....... 1200 : 17 = 70,588 cent 18 TET ....... 1200 : 18 = 66,667 cent cent 19 TET ....... 1200 : 19 = 63,157 cent 21 TET ....... 1200 : 21 = 57,143 cent 22 TET ....... 1200 : 22 = 54,545 cent 23 TET ....... 1200 : 23 = 52,174 cent 24 TET ....... 1200 : 24 = 50 cent 27 TET ....... 1200 : 27 = 28 TET ....... 1200 : 28 = 42,857 cent 29 TET ....... 1200 : 29 = 41,379 cent 30 TET ....... 1200 : 30 = 40 cent 31 TET ....... 1200 : 31 = 38,709 cent 33 TET ....... 1200 : 33 = 36,363 cent 43 TET ....... 1200 : 43 = 27,906 cent 48 TET ....... 1200 : 48 = 25 cent 96 TET ....... 1200 : 96 = 44,444 cent 12,5 cent Bagaimana cara menghitungnya ? Disini saya hanya akan membatasi sistim perhitungannya hingga 19 TET saja. 9 TET .... 1200 : 9 = 133.33 10 TET ....... 1200 : 10 = 120 11 TET ....... 1200 : 11 = 109,09 cent cent cent 1...... 133,333 cent 1...... 120 cent 1.... 109,090 cent 2...... 266,666 cent 2...... 240 cent 2.... 218,181 cent 3...... 400 cent 3...... 360 cent 3.... 327,272 cent 4...... 533,333 cent 4...... 480 cent 4.... 436,363 cent 5...... 666,666 cent 5...... 600 cent 5.... 545,454 cent 6...... 800 6...... 720 cent 6.... 654,545 cent 7...... 933,333 cent 7...... 840 cent 7.... 763,636 cent 8......1066,666 cent 8...... 960 cent 8.... 872,727 cent 9......1200 9......1080 cent 9.... 981,818 cent cent cent 10......1200 cent 10....1090,909 cent 11....1200 13 TET ……1200 : 13 = 92,307 14 TET ....... 1200 : 14 = 85,714 cent 15 TET ....... 1200 : 15 = 80 cent cent 1........ cent 92,307 cent 85,714 cent 1...... 80 cent 2........ 184,615 cent 2....... 171,428 cent 2...... 160 cent 3........ 276,193 cent 3....... 257,142 cent 3...... 240 cent 4........ 369,230 cent 4....... 342,857 cent 4...... 320 cent 5........ 461,538 cent 5....... 428,571 cent 5...... 400 cent 6........ 553,846 cent 6....... 514,285 cent 6...... 480 cent 7........ 646,153 cent 7....... 600 cent 7...... 560 cent 8........ 738,461 cent 8....... 685,714 cent 8...... 640 cent 9........ 830,769 cent 9....... 771,428 cent 9...... 720 cent 10........ 923,076 cent 10....... 857,142 cent 10...... 800 cent 11........1015,384 cent 11....... 942,857 cent 11...... 880 cent 12........1107,692 cent 12.......1028,571 cent 12...... 960 cent 13........1200 13.......1114,285 cent 13......1040 cent 14.......1200 14......1120 cent cent 1....... cent 15......1200 cent 17 TET ....... 1200 : 17 = 70,588 18 TET ....... 1200 : 18 = 66,667 19 TET ....... 1200 : 19 = 63,157 cent cent cent 1....... 70,588 cent 1...... 66,667 cent 1...... 63,157 cent 2....... 141,176 cent 2...... 133,333 cent 2...... 126,315 cent 3....... 211,764 cent 3...... 200 3...... 189,473 cent 4....... 282,352 cent 4...... 266,667 cent 4...... 252,631 cent 5....... 352,941 cent 5...... 333,333 cent 5...... 315,789 cent 6....... 423,529 cent 6...... 400 6...... 378,947 cent 7....... 494,117 cent 7...... 466,667 cent 7...... 442,105 cent 8....... 564,705 cent 8...... 533,333 cent 8...... 505,263 cent 9....... 635,294 cent 9...... 600 9...... 568,421 cent 10....... 705,882 cent 10...... 666,666 cent 10...... 631,578 cent 11....... 776,470 cent 11...... 733,333 cent 11...... 694,736 cent 12....... 847,058 cent 12...... 800 12...... 757,894 cent 13....... 917,647 cent 13...... 866,667 cent 13...... 821,052 cent 14....... 988,235 cent 14...... 933,333 cent 14...... 884,210 cent cent cent cent cent 15.......1058,823 cent 15......1000 16.......1129,411 cent 16......1066,667 cent 16......1010,526 cent 17.......1200 17......1133,333 cent 17......1073,684 cent 18......1200 18......1136,842 cent cent cent cent 15...... 947,368 cent 19......1200 cent How to recognize the Instrument tuning facility If we use the existing Keyboard Workstation, first we must look at the Scale Tune facility to make tuning matching instrument tradition. Or we change the position of the Pitch Key Follow contained in Sound Editing to turn it into Equai Temperament Tuning System, normally we will use numbers below 100 to turn it into the interval with a larger scale that are less than 12 TET, or we will use instead for the interval the smaller the scale that is more than the 12 TET. And if we use the computer, then we have to look at the menu Microtuning that exist in every VSTi, because not all VSTi have this facility. And besides, if we use a sequencer such as Steinberg Cubase and Nuendo, maybe we'll see Microtuner facilities provided on one MIDI plugins. This facility may still be used for only limited to Steinberg Instrument alone, because the appliance will not work when we use VSTi which exists outside of the Steinberg products. But apart from that there are also products that provide facilities such as LinPlug Tuning, in the back of the instrument, or Kontakt (Native Instruments), which also provides the facility Microtuner, especially for the sound of the instrument-instrument tradition that once they produce. Or there is a VSTi that serves as an instrument for our introduction to the Equal Temperament tuning, such as Xenharmonic, this instrument can be downloaded free of charge and only have a limited sound. In addition, there is still a VSTi which also has a very wide selection and Sound and Tuning selection is also quite wide, ie Omnisphere product of Spectrasonic. 8. the end of the book Once we know so many long journey of human civilization journey, it will be increasingly difficult for us to determine the size of a standard uniform. Due to the fact that it only applies Standards permanently in space and time are limited. Let us imagine in what way we can understand if we just stick to the size that we take for certain? While the size is not the size of our own nation. Bukan kah akan lebih baik jika kita mulai mengenal dan mempelajarinya ? Dan juga sekali lagi saya hanya mengingatkan bahwa mempelajari sesuatu bukanlah hanya untuk sekedar menghafal, tapi mempelajarinya supaya kita mengerti. Perhaps we would feel as though we understood after we memorize the number of records that have been given by foreign researchers. Throughout the observation and my experience would be better to prepare the food that will be created and simultaneously prepare it from start to finish process than if we accept the food is ready to eat, especially if the food we receive through the hands of foreigners? Maybe this is also true when we become a baby, and it will never be justified again by the time we've been able to think, let alone decide something that we have chosen. Therefore, it is still necessary to the learning process, we can also understand and comprehend what the otherpeople also understand them. Or perhaps we feel it is too late to learn the knowledge, even if only a limited ability as I have this, which is like putting together a book about the tuning system. However, any simple book that I make, at least, would open new horizons for us all that "we do not live alonein this Earth" that ultimately will never be ready to deal with foreign nations. And besides foreign nation itself is also a nation like ours with all the intelligence and at the same folly. Or in other words "No one nation ever lived privileged in this Earth". Only the ability and knowledge in a nation be so special after the nation pitted on environmental factors, such as climate and season. And besides that they also never be forgetful people and most importantly, that was the people that is willing to learn and work . Thus it is clear for us to be able to understand that the importance of the process of recording history, both the history of the behavior of the authorities, or the history of the culture and civilization of a nation and the history of science itself. And this does not only apply to a single nation, but always related to cultural friction with other nations.. It may also be what I am doing now is just one part of the process noted, though still very modest, both in data collection, as well as how to compile and translate. And I still hope that there are still comrades, both of my generation and the next generation will also provide feedback or refutation of the opinion that I woke up here. Because however we need now is our collective consciousness is to criticize each other, correct each other, to co-exist, to share and to complement our knowledge for the betterment of our beloved nation. List of Tables Equal Temperament 9 TET 9 TET .... 1200 : 9 = 133.33 cent 1...... 133,333 cent 2...... 266,666 cent 3...... 400 cent 4...... 533,333 cent 5...... 666,666 cent 6...... 800 cent 7...... 933,333 cent 8......1066,666 cent 9......1200 cent 10 TET 10 TET ....... 1200 : 10 = 120 cent 1...... 120 cent 2...... 240 cent 3...... 360 cent 4...... 480 cent 5...... 600 cent 6...... 720 cent 7...... 840 cent 8...... 960 cent 9......1080 cent 10......1200 cent 11 TET 11 TET ....... 1200 : 11 = 109,09 cent 1.... 109,090 cent 2.... 218,181 cent 3.... 327,272 cent 4.... 436,363 cent 5.... 545,454 cent 6.... 654,545 cent 7.... 763,636 cent 8.... 872,727 cent 9.... 981,818 cent 10....1090,909 cent 11....1200 cent 13 TET 13 TET ....... 1200 : 13 = 92,307 cent 1........ 92,307 cent 2........ 184,615 cent 3........ 276,193 cent 4........ 369,230 cent 5........ 461,538 cent 6........ 553,846 cent 7........ 646,153 cent 8........ 738,461 cent 9........ 830,769 cent 10........ 923,076 cent 11........1015,384 cent 12........1107,692 cent 13........1200 cent 14 TET 14 TET ....... 1200 : 14 = 85,714 cent 1....... 85,714 cent 2....... 171,428 cent 3....... 257,142 cent 4....... 342,857 cent 5....... 428,571 cent 6....... 514,285 cent 7....... 600 cent 8....... 685,714 cent 9....... 771,428 cent 10....... 857,142 cent 11....... 942,857 cent 12.......1028,571 cent 13.......1114,285 cent 14.......1200 cent 15 TET 15 TET ....... 1200 : 15 = 80 1...... 80 cent 2...... 160 cent 3...... 240 cent 4...... 320 cent 5...... 400 cent 6...... 480 cent 7...... 560 cent 8...... 640 cent 9...... 720 cent 10...... 800 cent 11...... 880 cent 12...... 960 cent 13......1040 cent 14......1120 cent 15......1200 cent cent 17 TET 17 TET ....... 1200 : 17 = 70,588 cent 1....... 70,588 cent 2....... 141,176 cent 3....... 211,764 cent 4....... 282,352 cent 5....... 352,941 cent 6....... 423,529 cent 7....... 494,117 cent 8....... 564,705 cent 9....... 635,294 cent 10....... 705,882 cent 11....... 776,470 cent 12....... 847,058 cent 13....... 917,647 cent 14....... 988,235 cent 15.......1058,823 cent 16.......1129,411 cent 17.......1200 18 TET cent 18 TET ....... 1200 : 18 = 66,667 cent 1...... 66,667 cent 2...... 133,333 cent 3...... 200 cent 4...... 266,667 cent 5...... 333,333 cent 6...... 400 cent 7...... 466,667 cent 8...... 533,333 cent 9...... 600 cent 10...... 666,666 cent 11...... 733,333 cent 12...... 800 cent 13...... 866,667 cent 14...... 933,333 cent 15......1000 cent 16......1066,667 cent 17......1133,333 cent 18......1200 19 TET cent 19 TET ....... 1200 : 19 = 63,157 cent 1...... 63,157 cent 2...... 126,315 cent 3...... 189,473 cent 4...... 252,631 cent 5...... 315,789 cent 6...... 378,947 cent 7...... 442,105 cent 8...... 505,263 cent 9...... 568,421 cent 10...... 631,578 cent 11...... 694,736 cent 12...... 757,894 cent 13...... 821,052 cent 14...... 884,210 cent 15...... 947,368 cent 16......1010,526 cent 17......1073,684 cent 18......1136,842 cent 19......1200 cent 21 TET 21 TET ....... 1200 : 21 = 57,143 cent 1....... 57,143 cent 2....... 114,286 cent 3....... 171,429 cent 4....... 228,572 cent 5....... 285,715 cent 6....... 342,858 cent 7....... 400 cent 8....... 457,144 cent 9....... 514,287 cent 10....... 571,43 cent 11....... 628,573 cent 12....... 685,716 cent 13....... 742,859 cent 14....... 800 cent 15....... 857,145 cent 16....... 914,288 cent 17....... 971,431 cent 18.......1028,574 cent 19.......1085,717 cent 20.......1142,86 cent 22 TET 21.......1200 cent 22 TET ....... 1200 : 22 = 54,545 cent 1....... 54,545 cent 2....... 109,090 cent 3....... 163,636 cent 4....... 218,181 cent 5....... 272,727 cent 6....... 327,272 cent 7....... 381,818 cent 8....... 436,363 cent 9....... 490,909 cent 10....... 545,454 cent 11....... 600 cent 12....... 654,545 cent 13....... 709,090 cent 14....... 763,636 cent 15....... 818,181 cent 16....... 872,727 cent 17....... 927,272 cent 18....... 981,818 cent 19.......1036,363 cent 20.......1090,909 cent 21.......1145,454 cent 23TET 22.......1200 cent 23 TET ....... 1200 : 23 = 52,174 cent 1....... 52,174 cent 2....... 104,347 cent 3....... 156,521 cent 4....... 208,695 cent 5....... 260,869 cent 6....... 313,043 cent 7....... 365,217 cent 8....... 417,391 cent 9....... 469,565 cent 10....... 512,739 cent 11....... 573,913 cent 12....... 626.086 cent 13....... 678,260 cent 14....... 730,434 cent 15....... 782,608 cent 16....... 834,782 cent 17....... 886,956 cent 18....... 939,130 cent 19....... 991,304 cent 20.......1043,478 cent 21.......1095,652 cent 22.......1147,826 cent 24 TET 23.......1200 cent 24 TET ....... 1200 : 24 = 50 1....... 50 cent 2....... 100 cent 3....... 150 cent 4....... 200 cent 5....... 250 cent 6....... 300 cent 7....... 350 cent 8....... 400 cent 9....... 450 cent 10....... 500 cent 11....... 550 cent 12....... 600 cent 13....... 650 cent 14....... 700 cent 15....... 750 cent 16....... 8oo cent 17....... 850 cent cent 18....... 900 cent 19....... 950 cent 20.......1000 cent 21.......1050 cent 23.......1150 cent 22.......1100 cent 24.......1200 cent Bibliography Kumpulan artikel-artikel tentang Musical Tuning dari Wikipedia Theon of Smyrna Mathematic useful for understanding Plato J.W.S Rayleigh The Theory of Sound Stephen Hawking On The Shoulder of Giant Hermann von Hemholtz On the Sensation of Tone Swami Premi Vedant A Simple Introduction to Indian Classical Music Henry George Farmer Jaap Kunts A History of Arabian Music Music in Java Harry Partch Genesis of Music